BUT  FOUR  HUNDRED  AND  SEVENTY-FIVE  COPIES  OF  THIS  BOOK 
ARE  PRINTED;  OF  WHICH  FOUR  HUNDRED  AND  TWENTY-FIVE 
ARE  ON  ITALIAN  HAND-MADE  PAPER  AND  FIFTY  ON  IMPERIAL 
JAPANESE   VELLUM.      OF   THE    ITALIAN    PAPER    EDITION    THIS  IS 


No. 


3^6 


EDWIN  DAVIS  FRENCH 

A  MEMORIAL 


t^- 


EDWIN  DAVIS  FRENCH 


A  MEMORIAL 


HIS  LIFE    .    .    HIS  ART 


a- 


f^ 


NEW  YORK 

PRIVATELY  PRINTED 

1908 


Copyright,  1908,  by 
Mary  Brainerd  French 


PREFACE 


THIS  volume  is  the  response  to  the  generally  expressed 
desire  of  Mr.  French's  intimates  and  acquaintances 
for  a  memorial  record  of  him  and  of  his  work. 

Unforeseen  details  have  enlarged  the  book  beyond  its 
original  outline.  These  are  chiefly  shown  in  the  inclusion 
of  some  hundreds  of  states  of  the  copper  engravings,  num- 
bering nearly  four  hundred,  by  which  he  is  known. 

The  biographical  sketch  of  Mr.  French  is  restricted  to  a 
simple  narrative  of  the  chief  events  of  his  life,  and  sugges- 
tions of  the  influences  that  governed  it;  a  brief  showing  of 
what  it  was. 

In  gathering  and  verifying  many  facts  I  have  had  the 
use,  very  kindly  granted  by  Mr.  John  P.  Woodbury  and 
Mr.  W.  E.  BailHe,  of  the  long  series  of  letters  from  Mr. 
French  to  them.  More  than  this,  for  from  these  letters  I 
have  added  much  to  my  impressions  of  his  personality 
gained  in  twenty  years  of  friendship  with  him,  and  I  have 
hoped  more  than  anything  else  to  convey  his  personality  to 


PREFACE 

the  reader.  If  I  shall  have  done  this  I  shall  in  some  measure 
have  justified  the  confidence  that  Mrs.  French  has  placed 
in  me. 

It  has  been  found  imperative  to  divide  Mr.  French's  en- 
gravings into  two  classes:  First,  his  book-plates,  the  Hst  of 
which  follows  his  notation  with  the  little  continuation 
needed  to  carry  it  to  completion.  Second,  his  miscellaneous 
engravings  and  designs,  including  practically  everything 
save  book-plates  that  is  surely  known  to  have  come  from 
his  hand.  Occasionally  he  did  some  bit  of  engraving  or 
sketched  a  design  that  seemed  to  him  too  slight  to  attach 
his  name  to  or  even  to  keep  note  of.  Some  engravings  and 
designs  may,  therefore,  have  escaped  notice  in  the  compila- 
tion of  the  latter  list.  It  may  be  stated,  too,  that  there  are 
designs  and  engravings  mistakenly  attributed  to  him  and 
such  have  been  omitted. 

The  compilation  of  the  two  lists  has  been  somewhat  diffi- 
cult; absolute  completeness  is  not  claimed,  for  that  is  im- 
possible, and  unrecorded  states  of  some  coppers  may  appear 
in  time.  Care  has  been  taken  to  accurately  record  the 
various  plates  and  their  various  states  that  the  lists  miay  be 
a  sure  guide  to  the  collector.  A  minute  examination  has 
been  made  of  the  proofs  and  prints  of  the  various  plates 
and  a  considerable  correspondence  has  been  had  with  their 
holders.  As  a  rule  some  distinguishing  feature  only  has 
been  cited  to  mark  a  state,  although  the  state  indicated  may, 
and  usually  does,  differ  materially  in  other  respects  from 
other  states  of  the  same  plate.  The  lists  make  no  distinc- 
tion between  working  proofs  and  impressions  from  different 
states  of  the  plates.  Strictly  speaking,  a  working  or  trial 
proof  is  one  taken,  while  the  plate  is  in  a  progressive  state, 
to  aid  the  engraver  in  its  completion;  whereas  an  engrav- 
ing appears  in  different  states  only  when  there  has  been  a 


PREFACE 

change  in  the  engraving  of  some  detail  of  the  completed 
plate  or  an  addition  to  it.  In  some  instances  Mr.  French  was 
at  liberty  to  strike  off  several  copies  of  a  working  proof 
and  he  thought  them  of  sufficient  interest  to  hand  them  to 
friends  who  followed  his  work.  These,  therefore,  are  to 
greater  or  less  extent  within  the  reach  of  the  public.  In 
several  clubs  and  libraries  the  successive  states  of  the  club 
or  library  book-plate  are  preserved  and  are,  therefore,  rea- 
sonably accessible,  and  a  complete  series  of  them  is  of  the 
greatest  value  to  the  student. 

Only  in  very  few,  exceptional,  instances  have  colors  used 
in  printing  been  noted,  as,  of  course,  the  holder  of  a  plate 
may  at  any  time  print  his  plate  in  any  color  he  may  choose. 

Mrs.  French  feels  that  note  has  been  made  of  everything 
that  Mr.  French  himself  would  have  recorded,  and  she 
wishes  to  express  here  her  obligation  to  Mr.  French's 
friends  who  have  walHngly  and  cordially  cooperated  in  the 
two  lists.  That  of  the  book-plates  would  hardly  have  been 
what  it  is  without  the  industry  and  aid  of  Mr.  Paul  Lemp- 
erly,  who  published  a  list  of  Mr.  French's  book-plates  in 
1899;  Mr.  Charles  Dexter  Allen,  Mr.  John  P.  Woodbury, 
Mr.  Arnold  Wood,  Miss  Messenger,  Rev.  William  A. 
Brewer,  Miss  Emma  Toedteberg  have  given  valuable  sug- 
gestions and  information ;  and  finally,  Mr.  W.  E.  Baillie's 
long  friendship  and  correspondence  with  Mr.  French  and 
his  very  accurate  and  thorough  knowledge  of  book-plates 
made  his  aid  invaluable. 

In  regard  to  the  miscellaneous  engravings  Mrs.  French 
feels  particularly  indebted  to  Mr.  Frank  Weitenkampf, 
curator  of  the  Print  Department  of  the  New  York  Public 
Library,  who  gave  his  experience  and  judgment  in  outlin- 
ing this  record  of  his  friend's  work,  and  who  contributed 
largely  to  it.    And  in  her  behalf  I  also  thank  Mr.  William 

be 


PREFACE 

Loring  Andrews  and  Mr.  Richard  Hoe  Lawrence  for  use- 
ful suggestions  and  courtesies. 

The  examples  of  Mr,  French's  art  here  given  are  printed 
from  the  original  coppers  by  the  kind  permission  of  the 
owners.  Grateful  acknowledgment  of  this  courtesy  is  made 
to  The  Bibliophile  Society,  Mrs.  Holden,  and  Mr.  Andrews, 
and  to  the  owners  of  the  book-plates  included. 

In  the  list  of  book-plates  the  names  are  given  exactly  as 
they  are  on  the  plates,  and,  with  a  few  obvious  exceptions, 
this  rule  is  followed  in  the  list  of  miscellaneous  designs  and 
engravings. 

Italicized  words  and  dates  are  also  as  engraved,  excepting 
in  the  use  of  the  word  Cypher  with  the  later  signatures.  The 
marginal  date  shows  the  year  of  completion  of  a  plate. 
When  the  plate  is  dated,  the  date  is  associated  with  its 
name  or  signature. 

I.  H.  B. 


CONTENTS 

PAGB 

PREFACE vii 

EDWIN  DAVIS  FRENCH 3 

BOOK-PLATES 33 

MISCELLANEOUS  DESIGNS  AND  ENGRAVINGS    .  77 

INDEX  OF  BOOK-PLATES 91 


LIST  OF  PLATES 

EDWIN  DAVIS  FRENCH,  PORTRAIT,  1894   .     .     .  Frontispiece 
THE  SOWER Vignette  on  Title-page 

FACING  PAGE 

EDWIN  DAVIS  FRENCH,  PORTRAIT,  1906 12 

HARVARD  QUADRANGLE 30 

EDWIN  DAVIS  FRENCH 33 

ARTHUR  WEST  LITTLE 44 

CANDIDATI 46 

PRINCETON  UNIVERSITY 49 

MARY  BARBER  ROBINSON       50 

SARAH  ELIZABETH  WHITIN 58 

EDWARD  DEAN  ADAMS 60 

VERY  REV.  EUGENE  AUGUSTUS  HOFFMAN 64 

MABEL  SLADE 68 

IRA  HUTCHINSON  BRAINERD 76 


EDWIN  DAVIS  FRENCH 


EDWIN  DAVIS  FRENCH 


THE  old  village  of  North  Attleboro,  Massachusetts, 
threaded  on  the  post-road  by  which  the  colonists 
frequently  passed  between  Providence  and  Boston, 
has  been  for  many  years  a  home  of  the  jewelry  industry. 
For  many  years  the  town  has  been  peopled  with  designers 
and  engravers,  with  goldsmiths  and  silversmiths,  whose  art 
and  influence  have  permeated  the  place,  afifecting  even  those 
not  at  all  concerned  with  their  work. 

Here  John  French  settled  from  England  in  the  latter  part 
of  the  seventeenth  century,  founding  one  of  several  Ameri- 
can branches  of  the  French  family.  His  descendants  in 
direct  line  have  ever  since  been  associated  with  the  town  and 
its  affairs,  and  in  the  third  generation  they  were  represented 
by  Ezra  French  in  the  patriot  army  of  the  Revolution. 

Ezra  French's  grandson,  Deacon  Ebenezer  French,  was  a 
man  of  more  peaceful  life,  a  carpenter  and  builder  by  trade; 
a  man  of  responsibility,  highly  esteemed  as  a  citizen  and  as 


EDWIN  DAVIS  FRENCH 

a  workman.  He  married  Maria  Norton  of  Attleboro  who 
also  was  of  early  New  England  parentage,  and  they  lived 
simply  as  their  ancestors  had  lived,  contributing  their  part 
in  town  and  church  and  social  activities. 

Edwin  Davis  French,  their  only  child,  was  born  in  North 
Attleboro  on  the  nineteenth  day  of  January,  1851.  The 
town  still  had  something  of  the  New  England  village 
character,  and  he  lived  a  country  boy's  life  until,  after  a  year 
in  preparatory  school  at  Suffield,  Connecticut,  he  entered 
the  class  of  1870  of  Brown  University. 

Mr.  French  was,  from  his  boyhood,  strongly  influenced 
by  his  mother.  She  was  a  woman  of  native  refinement  and 
gentleness,  and  he  resembled  her  both  in  character  and  in 
features.  He  never  swerved  from  the  principles  of  life  and 
conduct  that  he  learned  from  her,  and  though  a  wider  ac- 
quaintance and  cosmopolitan  studies  modified  its  expression, 
her  faith  was  his  through  life. 

While  the  boy  Edwin  played  a  boy's  part  in  these  early 
years  and  enjoyed  the  games  of  the  time  as  did  other  boys 
of  his  age,  yet  perhaps  he  accepted  that  unaccountable 
nuisance  of  boys'  life,  school,  with  greater  grace  than  is 
usual.  In  his  amusements  he  went  a  little  aside  from  the 
ordinary,  and  exercised  a  natural  tendency  to  art  that  was 
no  doubt  stimulated  by  the  atmosphere  of  the  town  itself. 

In  the  back  yard  of  his  home  stood  a  little  abandoned 
workshop  which  his  father  cleared  and  altered  for  him  and 
let  him  furnish  to  his  own  fancy.  When  he  was  eight  or 
ten  years  old  he  held  art  exhibitions  in  the  little  shop  that 
were  the  delight  and  wonder  of  his  fortunate  playmates  who 
enjoyed  them  at  the  extravagant  rate  of  two  pins  admission. 
Two  small  panoramas,  done  off  in  water-colors  and  pencil, 
survive.  The  smaller  of  them,  measuring  about  eight  feet 
long  by  four  inches  wide,  contains  seventeen  views ;  the  sec- 

4 


HIS  LIFE 

ond,  somewhat  more  pretentious,  is  about  eight  inches  wide 
by  perhaps  fourteen  feet  in  length.  He  was,  however,  not 
satisfied  with  undertakings  of  this  size  and  passed  on  to 
larger  panoramas  made  on  the  reverse  side  of  wall-paper. 
Among  these  panoramic  pictures  is  a  representation  of  what 
was  at  that  time  a  sensation  in  the  town,  and  probably  was 
regarded  by  the  children  as  a  supreme  effort  in  architecture, 
Barden's  store.  The  three  great  arches  of  its  front  no  doubt 
appeared  as  wonderful  to  them  as  the  three  arches  of  Peter- 
borough do  to  the  traveler  of  to-day.  Record  steamships, 
State  capitals,  and  lighthouses  are  here,  together  with  trees 
and  flowers  drawn  and  colored  for  reality,  although  in  a 
green  rose  his  imagination  anticipates  Burbank.  The  views 
of  Sunnyside  and  Sleepy  Hollow  testify  to  a  general  interest 
in  the  genial  Irving  too  little  familiar  to-day.  It  is  inter- 
esting, too,  to  find  on  various  of  these  panoramic  pictures 
the  now  more  widely  known  signature  of  the  artist,  E.  D. 
French. 

He  was  fond  of  books,  and  faithful  to  his  studies,  and 
his  school-days  passed  happily.  Yet  two  years'  close  applica- 
tion to  his  studies  at  Brown  University  seriously  affected  his 
health;  and  although  he  still  reserved  a  longing  for  a  com- 
plete college  course  and  possibly  a  literary  or  professional 
career,  he  yielded  to  the  invitation  of  a  friend,  Mr.  W.  D. 
Whiting,  the  founder  of  the  firm  that  bears  his  name,  to 
become  an  engraver  of  silver.  His  special  gifts  in  design 
and  in  execution  were  soon  recognized,  and  he  became  chief 
of  the  engraving  department.  Except  during  the  two  years, 
from  1881  to  1883,  when  he  was  designer  for  Mr.  Frank  M. 
Whiting,  he  held  that  rank  until  he  left  the  Whiting  Com- 
pany in  1894. 

His  nature  almost  demanded  that  he  give  his  life  to  art, 
and  of  all  arts  engraving  was  the  most  opportune.     It  in- 

5 


EDWIN  DAVIS  FRENCH 

vited  and  environed  him  and  so  became  the  channel  through 
which  his  artist's  temperament  made  itself  most  widely 
known. 

The  arts  of  music  and  painting  also  attracted  him,  and 
he  practised  them  as  an  amateur.  North  Attleboro,  with  its 
many  artisans,  after  its  days'  work  on  brooches,  watch- 
chains,  and  silver,  regaled  itself  in  the  evenings  and  on  holi- 
days with  a  brass  band  of  fifteen  pieces  in  which  the  town 
took  pride.  The  parts  for  trombone,  French  horn,  cornet, 
fife,  and  the  like,  were  drawn  off  and  distributed  by  the 
quiet  and  reticent  lad,  Edwin  French,  who  played  the 
trombone,  and,  further,  composed  the  "Wamsutta  Quick 
March,"  and  other  pieces  for  the  band.  Later  in  life  he 
enjoyed  the  piano,  which  he  played  well,  and  he  turned  also 
for  recreation  to  the  palette  and  brush,  though  with  a  self 
depreciation  that  no  praise  or  evidence  seemed  able  to  dis- 
lodge, for  in  all  his  life  he  never  regarded  any  of  his  color 
sketches  as  of  any  worth.  They  seem  rather  to  be  a  kind 
of  playing  with  colors  and  form,  and  were,  as  a  rule,  only 
so  far  completed  as  a  single  afternoon  might  allow,  and  the 
next  holiday  brought  new  tints  and  shadows  and  he  turned 
to  those  and  a  clean  canvas. 

No  doubt  each  man  has  to  a  large  extent  his  choice  in 
giving  to  the  world,  and  as  the  world  possesses  work  from 
Mr.  French's  graver  that  would  have  given  him  distinction 
at  any  point  in  the  history  of  art,  we  will  not  regret  that 
its  considerable  volume,  and  the  thought  given  to  its  detail 
and  to  each  plate's  full  effect  robbed  America  of  a  land- 
scape-painter of  distinction. 

Enfield,  Connecticut,  is  a  long  way  from  North  Attleboro, 
Massachusetts,  yet  Mr.  French  always  loved  walking,  and 
to  him  the  air  was  bracing  and  tinged  with  romance,  for  at 
Enfield  lived  Mary  Olivia  Brainerd,  daughter  of  Harvey  P. 

6 


HIS  LIFE 

Brainerd.  They  were  married  in  1873.  ^^  ^^^  ^  happy 
union,  characterized  by  that  ready  understanding  and  com- 
panionship that  bears  all  things,  and  Mr.  French  found  in 
his  wife  a  source  of  cheer  and  encouragement  which  carried 
him  through  many  a  dark  season  when  his  hold  on  life 
seemed  failing  and  the  doctors  were  grave. 

In  1876  Mr.  French  removed  from  North  Attleboro  to 
New  York,  where,  with  an  interval  of  two  years  in  his  old 
home,  following  his  mother's  death  in  1881,  he  lived  until 
the  summer  of  1897. 

Once  established  in  New  York,  Mr.  French  very  readily 
resumed  his  quiet,  systematic  life,  plying  between  his  home 
and  the  Whiting  Company,  which  were  his  only  interests  of 
moment.  He  did  not  concern  himself  with  the  political 
struggles  of  the  times  unless  fundamental  principles  were  at 
stake,  and  he  did  not  enter  very  actively  in  social  life,  or 
interest  himself  with  the  topics  of  the  day.  The  hurly- 
burly  of  city  life  was  hardly  in  accord  with  his  feeling. 

In  school  and  college  he  had  shown  a  fondness  for  lan- 
guages; indeed,  he  was  a  natural  linguist.  A  leaf  from  a 
copy  of  Dante  was  often  on  his  bench  before  him  for  refer- 
ence from  time  to  time  in  the  intervals  of  his  work,  and  he 
read  the  "Divine  Comedy"  as  he  walked  Broadway  with 
the  jangle  and  commotion  of  the  traffic  about  him.  His 
book-plate  records  his  taste  in  the  classics;  Dante,  Virgil, 
and  Lucretius,  standing  side  by  side  with  Emerson,  whose 
serenity  he  shared.  Volapiik  very  naturally  attracted  him, 
and  for  years  he  held  an  extensive  correspondence  in  this 
language,  attending  conventions,  and  contributing  to  jour- 
nals devoted  to  it.  His  enthusiasm  led  him,  in  1893,  to  loan 
a  group  of  Volapiik  books  to  the  Chicago  Exposition.  These 
books,  not  more  than  twelve  in  number,  contained  a  little 
book-label  which  was  printed  to  his  notion  from  type.    On 

7 


EDWIN  DAVIS  FRENCH 

account  of  its  personal  interest  this  plate  has  been  included 
in  the  list  of  his  book-plates. 

As  Volapiik  subsided  in  interest  and  Esperanto  replaced 
it,  Mr.  French  transferred  his  attention  to  the  latter  lan- 
guage, and  was  proud  of  its  progress.  He  found  that  al- 
though he  had  read  French  with  ease  for  many  years  and 
had  known  Esperanto  but  a  comparatively  short  time,  yet 
when  at  Montreal  he  could  talk  freely  in  the  latter  language 
while  he  felt  much  less  at  home  with  the  classic  French 
there  spoken.  Among  his  papers  there  are  many  jottings, 
essays,  and  translations  in  Esperanto,  among  them  transla- 
tions from  Stevenson,  a  rubricated  translation  of  the  Lord's 
Prayer,  and  a  carefully  engrossed  address  of  some  twelve 
thousand  words  on  the  necessity  of  a  universal  language. 

It  was  a  treat  to  discuss  these  new  languages  with  Mr. 
French,  and  he  liked  to  prove  their  availability  and  smooth- 
ness by  reading  them.  A  passage  in  Esperanto  from  "Ham- 
let," read  in  his  resonant,  expressive  voice  was  quite  as 
impressive  to  the  foreign  ear  as  though  delivered  in  Italian 
by  Salvini.  He  would  turn,  however,  from  these  to  Dante, 
who,  after  all,  was  his  favorite  and  whom  he  rendered  with 
something  akin  to  reverence.  If  asked  for  English  verse 
he  would  choose  Rossetti's  ballads,  in  which  he  turned  most 
readily  to  "Sister  Helen,"  and  the  "Blessed  Damozel,"  or, 
possibly,  he  would  read  the  simple  verse  of  Longfellow  and 
that  of  Whittier,  whose  "At  Last"  he  lingered  over : 

Be  near  me  when  all  else  is  from  me  drifting; 

Earth,  sky,  home's  pictures,  days  of  shade  and  shine. 

In  English  fiction  he  was  content  to  be  a  simple  lover  of 
Scott  and  Dickens.  He  never  outgrew  them,  and  with  them 
he  relished  Victor  Hugo  and  the  recent  French  and  Italian 
novelists.    He  was  acquainted  with  the  history  and  literature 

8 


HIS  LIFE 

of  art,  especially  of  engraving  and  the  subjects  of  ex-libris 
and  heraldry,  which  were  associated  with  it  in  his  own 
engraving.  The  last  book  he  read  was  Lippmann's  "En- 
graving and  Etching." 

During  Mr.  French's  earlier  years  in  New  York,  he 
studied  art  at  home,  gathering  and  compiling  many  scrap- 
books  of  designs  and  specimens  of  engraving;  but  in  1883 
he  availed  himself  of  the  opportunities  offered  by  the  Art 
Students  League,  and  there  he  for  some  years  studied  draw- 
ing under  George  de  Forest  Brush  and  William  Sartain. 
The  association  with  Mr.  Sartain  was  peculiarly  fortunate, 
and  the  future  designer  and  engraver  on  copper  was  an  apt 
pupil  of  the  engraver  whose  father  before  him  had  earned 
fame  in  the  same  field. 

In  1886  Mr.  French  became  a  member  of  the  League's 
Board  of  Control;  in  1887,  its  treasurer;  in  1889-92,  its 
president  for  two  terms.  Painstaking,  systematic,  and  al- 
most eager  for  details,  he  was  an  effective  factor  in  the  great 
advance  made  by  the  League  during  his  official  connection 
with  it. 

In  1887  the  League  moved  from  Fourteenth  Street  to 
ampler  quarters  in  Twenty-third  Street,  and  in  1889,  with 
the  Society  of  American  Artists  and  the  Architectural 
League  of  New  York,  it  united  in  forming  the  American 
Fine  Arts  Society,  and  the  movement  began  which  resulted 
in  the  permanent  home  of  the  three  organizations  in  Fifty- 
seventh  Street. 

The  president  of  a  large  and  restlessly  progressive  society, 
though  loyally  supported  by  vigorous  and  capable  assist- 
ants, as  was  Mr.  French,  has  a  multitude  of  questions  to 
consider  and  a  mass  of  work  to  do,  and  although  he  had  an 
aversion  to  asserting  his  views,  he  gave  time  and  thought 
without  grudge,  and  with  some  sacrifice,  to  these  duties. 

9 


EDWIN  DAVIS  FRENCH 

Publicity  was  particularly  disagreeable  to  him,  and  he 
felt  keenly  the  ungracious  attack  made  on  Mr.  Saint- 
Gaudens  for  using  a  nude  model  in  his  mixed  classes.  The 
deathless  question  of  the  nude  in  art  rang  through  the  press 
and  stormed  about  the  League.  Much  wholesome  editorial 
comment  and  some  woeful  wit  resulted,  and  perhaps  the 
public  was  educated,  for,  as  an  echo,  some  casts  from  the 
antique  in  a  western  city  were  draped.  But  the  unfortu- 
nate thing  was  that  the  League  lost  the  services  of  the  first 
and  noblest  sculptor  of  our  generation. 

Mr.  French  conceived  his  first  duty  to  be  to  the  League, 
and  he  declined  to  hamper  its  action  by  voicing  his  views  in 
the  press.  The  reporter  of  a  minor  journal  resented  this, 
and  said  his  paper  must  have  a  "story" — and  sure  enough, 
Mr.  French  found  in  the  next  issue  a  clever  concocted  tale, 
which  he  duly  scrap-booked  and  marked  "fake."  His  one 
contribution  to  the  public  discussion  was  a  brief  note  to  the 
leading  journals  stating  that  Mr.  Saint-Gaudens  had  simply 
continued  the  two-year-old  practice  of  the  League. 

The  receptions  to  Benjamin  Constant  and  E.  A.  Abbey  in 
1889,  the  costume  reception  in  1891,  and  the  other  public 
functions  of  the  League  were  a  pride  to  him.  But  his  great- 
est satisfactions  were  to  see  the  classes  grow,  to  see  their 
graduates  take  positions  as  artists  and  teachers  of  art,  and 
to  have  the  opportunity  to  help  and  by  his  sympathy  and 
encouragement  to  win  the  affection  and  reliance  of  some 
who  were  students  as  he  had  been  a  student. 

When  his  official  connection  with  the  League  began,  its 
records  showed  a  membership  of  four  hundred  and  twenty- 
three  students.  It  had  a  membership  of  more  than  twice 
that  number  when,  in  1891,  he  retired  as  president,  and  be- 
came one  of  the  trustees  of  the  American  Fine  Arts  Society. 

For  something  more  than  two  years  after  Mr.  French 

10 


HIS  LIFE 

withdrew  from  the  Whiting  Company,  he  Hved  in  New 
York  and  devoted  his  energies  entirely  to  work  on  copper. 
His  attention  had  been  called  to  book-plates  by  the  collec- 
tion that  his  sister-in-law,  Miss  Helen  Elvira  Brainerd,  then 
a  librarian  in  Columbia  College,  was  making. 

Merely  for  the  jest  he  engraved,  somewhat  coarsely,  fol- 
lowing old  English  models,  what  was  to  all  appearance  a 
book-plate,  now  in  its  way  famous.  It  was  heraldic — shield, 
crest,  and  motto :  u  sepe  ars  so  ap,  disposed  on  the  ribbon 
underneath.  This  he  printed  roughly  on  old  paper  and 
slipped  into  the  little  collection,  whose  owner  was  for  a  time 
mystified  by  it;  and,  somewhat  as  the  ancient  heralds  on 
the  appearance  of  an  unknown  champion,  amateurs  of  to- 
day have  since  been  puzzled  by  the  novel  blazonry,  and  by 
the  motto  so  apparently  an  uncouth  mixture  of  Welsh  and 
Latin.  This  was  in  the  autumn  of  1893.  The  jest  soon 
became  earnest,  for  Miss  Brainerd  was  rightly  entitled  to 
a  book-plate  in  place  of  the  sham,  and  Mr.  French  designed 
and  engraved  his  first  serious  copperplate. 

Having  decided  to  give  his  future  to  copper  engraving, 
and  to  make  a  specialty  of  ex-libris,  he  engraved  an  an- 
nouncement of  his  intention  which,  in  the  beauty  of  its 
setting,  was  an  enticing  specimen  of  his  work.  He  took  a 
natural  pride  in  the  fact  that  he  never  had  to  distribute  this 
announcement,  for  after  he  had  once  started  he  never 
needed  to  consider  whence  the  next  commission  might  come. 
He  always  had  two  or  three  plates  in  progress,  commissions 
were  waiting  his  hand,  and  there  was  correspondence  that 
looked  yet  farther  into  the  future. 

In  the  summer  of  1897,  he  removed  from  New  York  to 
Saranac  Lake  and  established  his  home  in  the  midst  of  the 
rugged  Adirondack  scenery  that  gratified  his  love  of  nature. 

He   frequently  traveled  to  the  South  in  the  winter  to 

11 


EDWIN  DAVIS  FRENCH 

escape  the  sharper  cold,  yet  he  held  his  Adirondack  home 
until  the  end.  Many  are  the  brief  descriptions  of  nature  in 
his  letters,  showing  his  pleasure  in  the  mountain  prospects, 
the  sunsets,  and  the  tinted  skies. 

Whenever  he  journeyed  from  home  he  carried  with  him 
his  sand  cushion,  lens,  and  graver,  and  where  he  stopped 
he  set  up  his  bench,  framed  a  screen,  and  continued  his  en- 
graving. This  had  its  difficulties,  as  he  sets  them  forth  in  a 
letter  to  Mr.  Baillie : 

"The  light  is  not  just  right  for  engraving  in  my  present 
quarters :  I  doubt  if  I  could  get  altogether  used  to  it  so  as  to 
do  my  best  work,  or  if  it  would  not  be  an  injury  to  my  eyes 
to  try  it.  For  drawing  it  is  good  enough;  there  you  have 
white  paper  and  black  ink,  and  the  problem  of  lighting  is 
comparatively  a  simple  one.  But  in  engraving,  the  surface 
of  the  copper  is  polished,  and  excessive  or  insufficient  light 
is  more  readily  felt ;  moreover,  the  surface  and  cuts  are  the 
same  color,  and  so  the  engraved  lines  are  seen  only  by  reflec- 
tion until  you  rub  foreign  matter  into  them,  which  you  can't 
stop  to  do  with  every  stroke;  for  this  reason  uneven  light 
or  cross  lights  are  very  confusing  to  one's  optic  nerve." 

In  the  October  of  1905  he  made  his  greatest  journey  into 
the  world,  a  trip  to  Europe  that  he  had  looked  forward  to 
for  many  years,  and  wherever  he  went  he  found  a  welcome 
with  those  to  whom  his  name  was  already  known.  The 
doctor  he  had  occasion  to  consult  in  France  was  a  book- 
plate collector  and  a  student  of  engraving;  he  pulled  proofs 
of  Mr.  Gould's  and  Mr.  Simmons'  plates  at  Stecchini's  in 
Rome ;  he  here  and  there  met  correspondents  in  Esperanto ; 
the  art  galleries  of  England,  France,  and  Italy  attracted 
him ;  but,  best  of  all,  he  visited  in  Nuremburg  the  old  home 
of  the  father  of  copper  engraving,  Albert  Diirer,  and  in 
England  he  at  last  met,  face  to  face,  his  friend  and  cor- 

12 


HIS  ART 

respondent  of  years,  the  veteran  master,  Mr.  C.  W.  Sher- 
born. 

His  outing  was  over;  June  of  1906  found  him  again  in 
America,  and  as  ever  still  at  work.  This  last  year  of  his 
life  showed  that,  while  his  health  was  far  from  secure,  there 
was  no  waning  in  his  enthusiasm,  or  in  the  firmness  of  his 
line,  or  in  the  fertility  of  his  invention.  The  fourteen  book- 
plates of  this  year,  the  year  of  his  great  vacation,  maintained 
his  prestige  to  the  end. 

At  the  end  of  October  he  left  Saranac,  intending  to  spend 
the  winter  in  New  York,  and  he  eagerly  anticipated  the 
closer  association  with  his  old-time  friends  in  the  city  where 
he  so  long  worked,  and  so  many  of  whose  historic  old  build- 
ings and  points  of  interest  he  had  pictured  with  his  graver. 
But  his  hope  could  not  be  fulfilled,  and  on  the  eighth  of  De- 
cember, in  the  Sherwood  studio  building  where,  years 
before,  as  president  of  the  Art  Students  League,  he  had 
joined  in  the  formation  of  the  Fine  Arts  Society,  his  life 
closed. 


II 


Mr.  French's  name  in  art  will  always  be  associated  with 
designing  and  engraving  on  copper,  for  although,  as  we 
have  seen,  he  was  for  some  sixteen  years  a  silver  engraver 
of  unusual  skill,  his  work  in  silver  is  unsigned. 

Yet  his  debt  to  these  years  of  silver  engraving  was  a 
large  one.  While  in  the  Whiting  Company  he  became  a 
master  of  the  technique  of  the  craft;  when  he  turned  to 
copper  engraving  he  was  as  though  born  with  a  burin  in  his 

13 


EDWIN  DAVIS  FRENCH 

hand.  While  there  he  had  eagerly  absorbed  suggestions 
and  had  gathered  flowers  and  vines,  drawing  first-hand 
from  nature  in  his  study  for  designs  and  their  rendering. 
His  matchless  lettering  and  his  monograms,  firm  and  digni- 
fied in  character,  he  learned  there ;  there,  too,  he  learned  to 
grave  so  gracefully  the  flowers  and  sprays  that  give  charm 
to  many  of  his  copperplates.  Years  afterward,  in  1899, 
when  he  was  known  through  a  hundred  and  fifty  copper 
engravings,  he  inscribed  a  book  to  Mr.  Charles  Osborn  of 
the  Whiting  Company:  "To  whose  instruction,  example, 
and  energy  I  am  so  largely  indebted  for  what  skill  in 
handicraft  and  taste  in  design  I  may  possess."  Thus  the 
period  of  silver  engraving  was  a  fortunate  training  for  his 
later  work  in  copper,  and  his  gift  in  designing  rapidly 
adapted  itself  to  his  later  and  freer  medium.  We  find  this 
transition  in  his  six  earliest  book-plates,  and  in  some  of  the 
later  ones  the  monogram  motive  readily  suggests  silver  en- 
graving. 

The  difference  between  engraving  on  silver  and  on  cop- 
per is  quite  radical,  however  akin  the  two  may  be  in  some 
respects.  The  silver  engraver  has  in  mind  the  direct  result, 
which  he  sees  as  his  graver  unfolds  it;  the  engraver  on 
copper  works  for  a  reflected  result — a  print — the  reverse 
of  the  cutting  on  the  metal;  the  depth  of  his  cut,  the  text- 
ure of  his  engraving,  is  still  to  be  interpreted  by  the  printer, 
and  he  must  keep  this  interpretation  in  view.  He  has  the 
advantage,  however,  of  working  always  upon  a  level  sur- 
face, while  coffers,  vases,  mirrors,  or  the  endless  variety  of 
trinkets  and  household  silver,  all  in  infinite  shape  and  size, 
pass  under  his  brother's  hand.  Yet  the  two  branches  of  en- 
graving are  so  closely  alike  that  many  artists  and  workers 
have  pursued  both  simultaneoush'',  and  many,  like  Paul 
Revere  and  Mr.  French,  have  passed  from  silver  to  copper. 

14 


HIS  ART 

Mr.  French's  copper  engraving  is  marked  by  a  direct- 
ness and  confidence  that  grew  to  an  instinct  as  he  became 
accustomed  to  his  medium;  it  is  characterized  by  what  Mr. 
Weitenkampf  well  styles  a  nobility  of  line,  a  line  fearless, 
certain,  and  always  with  a  definite  purpose  toward  which 
he  wrought  with  a  firm  hand  and  a  sure  eye.  He  knew  the 
value  of  the  heavy  line  for  strength  and  shading,  and 
passed  easily  from  heavy  to  light  for  form  and  perspec- 
tive, avoiding  the  suggestion  of  flatness  that  condemns 
many  engravers  to  but  transient  success.  His  finer  shad- 
ing is  as  etching  in  its  effect,  though  in  some  plates,  for 
example,  that  of  Mr.  Godfrey,  he  mingled  etching  and  en- 
graving. At  times  he  used  the  dry-point,  as  in  the  twelve 
deHcate  remarques  that  are  associated  with  as  many  plates. 
His  engravings  exhibit  a  remarkable  technique  governed  by 
a  sincere  and  true  artistic  feeling.  It  lay  in  his  power  to 
impart  to  them  a  glowing  luster,  a  warmth  as  of  burnished 
metal  that  gives  them  a  brilliance  and  life  not  often  reached 
in  engraving,  and  that  so  notably  enhances  the  beauty  of  his 
landscapes  and  seems  to  increase  the  illusion  of  their  per- 
spective, whether  in  such  exquisite  little  gems  as  are 
shown  in  the  book-plates  of  Miss  Slade,  Mr.  Merriman, 
and  Mr.  Woodbury,  or  in  the  larger  engraving  of  the  Har- 
vard Quadrangle. 

The  strongest  influences  he  had  among  engravers  were, 
as  Mr.  Woodbury  truly  writes,  the  early  German  masters, 
Diirer,  the  Behams,  and  Aldegrever.  They  were  his  mod- 
els. The  achievement  of  Mr.  Sherborn  was  an  inspiration 
and  example  to  him,  particularly  in  heraldry,  where  he 
noted  Mr.  Sherborn's  methods  and  recognized  his  author- 
ity. One  connoisseur,  oddly,  finds  close  resemblance  to  the 
work  of  Vaughan  at  a  time  when  Mr.  French  was  not  fa- 
miUar  with  it,  so  easily  do  artists  of  similar  gift,  traveling 

15 


EDWIN  DAVIS  FRENCH 

on  similar  lines  reach  similar  results.  There  seems  to  be 
something  honest  and  lasting  in  the  work  of  these  German 
and  English  masters  that  he  reached  by  sympathy.  The 
French  engravers,  lighter,  graceful,  but  having  as  a  rule 
less  strength,  he  studied,  though  he  seldom  chose  their 
style  of  decoration. 

In  talking  of  him  at  different  times  with  two  engravers, 
one  skilled  in  heraldic  work,  and  the  other  notable  in  land- 
scape engraving  I  was  struck  by  the  enthusiasm  with  which 
each  spoke  of  Mr.  French's  supremacy  in  his  own  field. 

Beyond  this  mastery  of  the  burin  that  distinguishes  his 
plates  and  wins  the  admiration  of  true  critics  and  of  en- 
gravers, lay  a  striking  gift  for  designing,  and  a  controlled 
imagination.  He  loved  beauty  and  he  loved  sincerity,  and 
these  form  the  basis  of  his  original  work.  He  found  the 
lotus  and  acanthus,  the  laurel,  chrysanthemum,  and  pine  in 
nature  or  in  the  works  of  many  artists,  and  he  utilized 
them,  literally  or  conventionally,  with  almost  unerring 
taste;  the  graces  of  his  ornament  and  foliation  furnishing 
a  welcome  to  their  wealth. 

With  those  details  and  accessories  of  a  design  that  give 
personality  to  the  plate,  Mr.  French  was  most  careful— an 
instrument  or  book  or  scene  in  one  of  his  plates  is  usually 
definite  of  its  sort,  and  in  its  rendering  he  was  delighted  to 
bring  reality  and  art  together.  He  searched  high  and  low 
for  a  pine-cone  that  would  accord  in  its  setting  and  be 
found  in  nature;  an  old  plate  misled  him  in  engraving  a 
tarpon,  and  he  hunted  for  an  authoritative  representation 
to  guide  him;  a  photo-reproduction  of  the  Jost  Amman 
prints  in  the  Grolier  plate  was  not  enough,  he  borrowed  an 
original.  Often  his  clients  aided  him  to  this  exactness,  oft- 
times  he  traced  to  it  himself. 

The  most  fortunate  of  his  clients  were  those  who  placed 

16 


HIS  ART 

the  least  restriction  on  his  freedom  in  composition  and  dec- 
oration, once  they  had  indicated  the  desired  features.  Def- 
erential as  he  was,  for  he  felt  it  was  another's  and  not  his 
book-plate  that  he  mig^ht  have  in  hand,  yet  he  had  the  ar- 
tist's feeling  very  strongly,  and  in  one  instance  this  was 
crossed  by  a  client's  wish  for  an  alteration — the  change  was 
made,  and  he  took  his  name  from  the  plate. 

He  was  not  one  ever  to  take  a  commission  in  a  perfunc- 
tory spirit ;  even  in  so  many  plates  having  the  same  general 
purpose,  he  searched  out  the  distinctive  qualities  of  each. 
To  the  lover  of  the  sea  each  day  that  shines  upon  it  has  its 
own  peculiar  quality  in  tint  of  sky  or  water,  in  wave  or 
cloud,  that  attracts  attention  and  gives  enjoyment;  and  to 
Mr.  French  each  copper  had  its  own  fascination  as  into  it 
was  cut  the  new  design  with  its  new  possibilities.  He  stud- 
ied and  enjoyed  his  art  as  he  pursued  it ;  always  there  was 
something  in  it  that  he  Avould  still  attain. 

His  interest  in  engraving  was  a  loyalty.  He  had  pride  in 
its  traditions  and  took  great  satisfaction  in  being  allied  to  it 
and  recognized  in  it.  He  was  pleased  always  to  meet  an- 
other engraver  and  exchange  points  of  view.  His  counsel 
was  often  sought  and  willingly  given.  In  the  pressure  of  his 
work  he  was  often  glad  to  introduce  a  proposed  client  to 
some  other  engraver,  and  sometimes  his  health  urged  him  to 
this  course.  "It  is  not  easy  for  me,"  he  writes,  "to  be  quiet 
and  tranquil,  when  there  is  so  much  I  would  like  to  do." 

Aside  from  the  idea  of  a  book-plate  there  was  little  of 
suggestion  in  the  collection  of  Mr.  French's  sister-in-law  to 
which  reference  has  been  made.  These  plates  were  in  large 
part  English,  and  of  course  armorial.  Among  them  were 
the  Nathl.  F.  Moore,  Rich'd  Harison,  Esqr.,  and  Joseph 
Murray,  Esqr.,  this  last  the  richest  of  them.  The  distinctly 
American  plates  in  the  collection  were  crude  though  varied 

17 


EDWIN  DAVIS  FRENCH 

in  their  rigid  styles.  The  fantastic  joke  that  Mr.  French  en- 
graved and  put  with  them  was  a  very  clever  imitation,  an 
old-style  plate  as  he  intended  it  to  be.  But  when  he  be- 
gan Miss  Brainerd's  plate  he  threw  precedent  aside  and 
produced  an  original  design.  It  is  a  complex  plate,  pictur- 
ing its  owner's  home  at  Enfield  and  bearing  the  monogram 
and  name,  cut  as  in  stone;  these  are  surrounded  by  a  set- 
ting of  the  wild  roses  and  ox-eyed  daisies  of  New  England 
and  the  freely-dealt-with  "Chippendale"  shell  that  already 
under  his  hand  impatiently  burst  into  leafy  scrolls. 

His  interest  in  Volapuk  led  to  his  second  attempt,  an  al- 
most symmetrical  plate,  built  about  the  winged  torch  and 
double  globe  symbol  with  the  motto  of  the  Volapiik  Society, 
with  the  legend,  Lonol  al  Edwin  Davis  French,  on  a  tablet 
cased  in  a  frame  of  "Chippendale"  shells,  which  he  again 
uses  as  freely  as  its  originator  used  the  original  shell. 

His  third  book-plate,  engraved  for  Mrs.  French,  shows 
again  his  love  of  the  rose,  and  he  deftly  studs  the  mono- 
gram with  the  forget-me-not;  making  the  monogram  the 
feature  of  the  plate,  he  gives  it  proportion  to  the  freer 
scrollwork  which  he  more  fully  commands. 

In  the  next  three  plates  he  breaks  from  the  confinement 
of  the  rectangle,  and  furnishes  three  new  varieties  of  the 
monogram  motive.  He  had  already  shown  a  liking  to  re- 
view and  correct  his  work  by  later  judgment,  and  after  a 
change  of  thought.  Few  plates  there  are  in  the  long  list 
but  had  some  final  touch,  a  shadow  deepened  here  or  a 
scroll  lengthened  or  restrained  there,  and,  generally,  some 
little  improvement  where  his  client  was  probably  already 
content. 

His  own  plate,  No.  5,  shown  in  its  final  state  in  this  book, 
was  a  marked  evolution.  Its  main  features  he  had  at  the 
outset.     Flowers  blossom  at  top  and  bottom  and  in  the 

18 


HIS  ART 

midst,  and  scrolls  float  lightly  from  the  initials.  At  the 
bottom  he  placed  on  record  his  chosen  volumes  from  all  the 
world's  libraries— Dante,  Lucretius,  Emerson,  Virgil— 
and  an  open  book  that  breathes  his  love  of  nature,  while 
under  these  are  the  symbols  of  his  chosen  and  favorite  arts. 
The  later  changes  show  the  corners  of  a  supporting  frame 
appearing  from  behind,  and  the  readjustment  of  the  ribbon 
to  bear  his  name.  It  is  a  very  significant  plate,  not  only 
for  the  lavish  decoration  and  for  its  combined  delicacy  and 
cheering  boldness,  but  because  it  is  strongly  and  definitely 
personal  in  its  character. 

These  six  plates  were  all  in  a  sense  the  play  of  a  man 
whose  play  must  show  some  result.  "Produce,"  cries  Car- 
lyle,  and  to  Mr.  French  such  a  voice  was  welcome.  He  was 
now  on  the  threshold  of  his  fruitful  career  as  an  engraver 
on  copper. 

On  the  fourteenth  of  January,  1894,  he  received  a  letter 
from  Mr.  Beverly  Chew  stating  that  Miss  Brainerd  had 
said  that  Mr.  French  was  prepared  to  execute  orders  for 
ex-libris,  and  asking  for  an  interview.  Mr.  Chew  wished 
two  plates,  his  own  and  that  of  the  Players.  He  had  readily 
recognized  the  promise  of  the  little  sheaf  of  plates  already 
done ;  their  more  than  promise  he  had  noted  too,  and  he  in- 
dorsed his  appreciation  with  good  counsel  to  Mr.  French 
and  with  generous  praise  to  his  own  friends. 

Each  of  these  two  plates  had  its  peculiar  test.  The 
Players  was  a  difficult  design  for  the  engraver,  yet  he  ren- 
dered the  lights  and  shadows  of  a  wash-drawing  and  the 
doleful  and  jovial  masks  with  success.  Mr.  Chew  wished 
an  armorial  plate,  and  that  must  bring  comparison  with  the 
heraldic  engravers  of  all  time.  The  shield  and  crest  are 
so  executed  that  they  at  once  suggest  antiquity,  and  while 
the  plate  has  no  uncertainty,  it  has  no  thought  of  the  hard 

19 


EDWIN  DAVIS  FRENCH 

machine-like  work  of  much  modern  engraving-,  a  misfor- 
tune skilfully  avoided  in  the  crisp  scrolls  and  in  the  waving 
palm. 

Mr.  Chew's  double  commission  anticipated  the  similar 
order  of  Dr.  Clark  by  but  a  few  hours.  Hard  upon  these 
four  followed  other  orders  and  commendations  from  well- 
known  connoisseurs,  the  natural  fruit  of  the  six  first  plates. 
The  names  of  most  of  them  stand  early  in  the  roll  of  plate 
owners : — Mr.  S.  P.  Avery,  whose  encouragement  of  Ameri- 
can art  was  tireless ;  Mr.  John  P.  Woodbury,  whose  faithful 
friendship  had  in  it  something  akin  to  a  father's  pride ;  Mr. 
William  Loring  Andrews,  who  recognized  Mr.  French's 
skill  in  almost  every  field  of  copper  engraving,  and  secured 
its  use  in  numerous  plates ;  Mr.  William  E.  Baillie,  chief  of 
American  book-plate  collectors,  eager  and  ceaseless  in  his 
friendship;  Mr.  Charles  Dexter  Allen,  whose  "American 
Book-Plates,"  containing  four  of  Mr.  French's  plates, 
printed  from  the  coppers,  won  for  him  generally  the  title  of 
"Little  Master,"  already  given  him  by  the  German  author- 
ity, Count  Leiningen  Westerburg;  and  there  were  still 
others.  From  them  and  through  their  introduction  came 
more  commissions  than  Mr.  French  felt  able  to  fill.  He  had 
reason  in  the  spring  of  1894  to  feel  confident  of  his  field. 

It  is  not  my  purpose,  nor  is  there  need,  to  describe  each 
of  Mr.  French's  book-plates.  Their  art  is  not  conveyed  in 
words,  and  their  personal  features,  for  the  American  in- 
dividualized book-plate  is  most  distinctly  associated  with 
Mr.  French,  of  course,  are  not  always  at  command.  More- 
over, private  collectors  have  long  since  been  busy  gathering 
them,  and  there  are  few  persons  actively  interested  in  book- 
plates who  have  not  a  valued  group  of  his  work.  It  is  so 
too  with  public  collections. 

In  1894  Mr.  French  was  gratified  to  find  his  plates  in  the 

20 


HIS  ART 

Boston  Museum,  and  the  same  year  they  were  an  important 
part  of  the  exhibition  of  book-plates  held  by  the  Grolier 
Club.  In  1898  nearly  all  that  were  then  engraved,  and 
some  in  difterent  states,  were  in  the  extensive  collection 
shown  in  Boston  by  the  Club  of  Odd  Volumes.  An  exhibition 
entirely  devoted  to  Mr.  French's  book-plates  was  held  in 
Cleveland  in  1899,  and  through  the  summer  of  1907  the 
New  York  Public  Library  held,  at  the  Lenox  branch,  an 
exhibition  of  upward  of  two  hundred,  not  only  of  the  book- 
plates but  of  the  miscellaneous  engravings  as  well. 

A  book-plate  should  be  more  than  a  decorative  label.  It 
should  have  in  motto  or  in  symbol,  and  quite  aside  from  its 
art,  some  clear  and  lasting  token  of  its  owner.  The  splen- 
did plate  of  the  Worcester  Art  Museum,  with  its  bronze- 
like seal,  flanked  by  torches  and  over  it  the  generous  motto, 
"For  the  benefit  of  all  the  people  of  the  City  of  Worcester," 
stamps  the  purpose  of  each  volume  that  contains  it. 

The  Edward  Tompkins  McLaughlin  Memorial  plate, 
largely  planned  by  the  professor's  friend,  Mr.  George  Dud- 
ley Seymour,  is  a  more  deeply  impressive  one.  The  pres- 
ence of  the  chalice — the  Holy  Grail — suggests  to  his  inti- 
mates his  interest  in  the  Arthurian  legends  and  his  love  of 
Browning's  line : 

"Only  grant  my  soul  may  carry  high  through  death  her 
cupunspilled." 

Closely  associated  with  this  reminder  of  the  man  is  the  bur- 
den of  his  counsel,  the  motto  from  Matthew  Arnold,  "Think 
clear,  feel  deep,  bear  fruit  well."  He  thought  that  the  poet 
had  in  this  verse  expressed  the  best  of  modern  culture.  The 
seal  of  Yale  University,  and  the  panel  for  the  President's 
autograph,  and  the  name  of  the  prize  winner,  complete  the 
plate. 

21 


EDWIN  DAVIS  FRENCH 

The  noble  plate  of  Ernest  Kempton  Adams  is  a  fine  ex- 
ample of  this  cardinal  principle.  The  motto  "Seek  Truth," 
at  the  top,  almost  suggests  a  halo  above  the  bust  of  Socra- 
tes, which  stands,  with  scientific  instruments  at  either  side, 
on  a  small  cabinet  containing  books,  some  without  titles, 
and  some  with  the  names  of  famous  scientists.  On  the 
dexter  side  is  a  small  engraving  of  a  cross-country  rider 
accompanied  by  a  hound ;  on  the  sinister  side  a  Stradivarius 
is  represented  incased  in  pansies.  The  relative  placing  of 
these  elements  has  its  suggestive  value,  as,  surrounded  by 
graceful  ornament,  they  bespeak  the  character  and  pursuits 
of  the  owner. 

It  would  be  difficult  to  find  a  purely  symbolic  design  ren- 
dered with  more  appreciation  and  evident  delight  than  that 
of  the  Candidati,  which  evidences  character  in  a  somewhat 
different  way.  There  is  a  touch  of  humor  mixed  with  ear- 
nestness in  it  that  appealed  to  Mr.  French.  This  plate  is 
used  by  the  members  of  a  circle  of  women  writers.  The 
badge  of  the  society,  designed  in  jest,  the  bauble  with  the 
initial  "C,"  lies  half  buried  underneath  the  manuscript  and 
finished  books  which  represent  the  hope  and  achievement 
of  the  members.  An  ominous  boomerang,  that  is,  a  re- 
turned manuscript,  is  there  too.  A  full  circle  represents  the 
lasting  friendship  of  the  members.  The  wreath  is  the  re- 
ward, and  across  the  whole  lies  the  ribbon  that  bears  the 
name  of  the  society  or  of  one  of  its  members. 

Mr.  W.  K.  Bixby's  plate  is  a  peculiar  example  of  the  in- 
dividual design.  He  humorously  accepted  the  generic  slang 
title  of  "octopus"  given  to  large  commercial  combinations, 
one  of  which  he  was  president  of,  and  appHed  the  idea  to 
collecting.  Mr.  French  quizzically  enjoyed  making  a  design 
that  shows  a  fierce  octopus  in  the  center,  reaching  its  tenta- 
cles to  every  side  in  pursuit  of  the  books  and  manuscripts 

22 


HIS  ART 

that  tumble  about  in  the  seething  water.  Contradictory  it 
is,  to  be  sure,  but  how  novel  and  startling  in  its  effect !  Few 
of  Mr.  French's  engravings  furnish,  in  their  different 
states,  a  better  study  than  this  of  his  power  and  methods. 

Even  to  the  prosaic  "book-pile,"  of  which  sort  of  book- 
plate he  engraved  but  one,  that  of  Mr.  Julian  Marshall,  Mr. 
French  gave  individuality  in  the  tokens  of  music  and  nature. 
Partly  it  is  these,  partly  the  fine  sense  of  proportion,  partly 
the  perfect  execution,  that  makes  this  the  most  beautiful 
book-pile  plate  in  existence. 

The  abstruse  and  technical  science  of  heraldry  has  been  a 
problem  to  American  engravers,  and  not  unlikely  to  foreign 
ones  as  well.  Mr.  French  studied  Fairbairn  and  Boutell  to 
good  purpose,  and  gathered  all  hints  that  came  to  him  on 
that  subject,  and  he  so  well  availed  himself  of  the  decora- 
tive opportunities  it  offered  that  his  armorials  are  apace  in 
beauty  with  the  more  practised  work  of  the  foreign  en- 
gravers of  any  period.  His  armorial  designs  are  usually 
strong  and  decided,  even  when  the  insignia  are  supported 
and  surrounded  by  generous  ornament.  His  trained  eye  al- 
ways gave  proportion  to  them,  not  less,  but  more  clearly, 
than  to  others.  The  roll  of  successes  is  a  long  one,  yet 
could  it  be  done  without  seeming  to  forget  others,  I  would 
speak  of  the  heraldic  plates,  each  distinct  in  treatment,  of 
Mr.  Varnum,  Mr.  Hopkins,  Mr.  Livermore,  Mr.  Gushing, 
and  the  plate  of  Mrs.  Whitin,  as  beautiful  in  its  execution 
as  it  is  clever  in  its  design. 

Frequently  designs  mingle  heraldry  with  other  motives, 
a  more  difficult  matter.  The  plates  of  Mr.  Talmage,  Mr. 
Gale,  Mr.  Baillie,  Mr.  Arnold  Wood,  and  the  Dean  Hoff- 
man Library,  this  last,  one  of  Mr.  French's  most  digni- 
fied engravings,  follow  this  method. 

There  is  no  class  of  designs  in  which  an  error  so  quickly 

23 


EDWIN  DAVIS  FRENCH 

catches  the  eye  as  in  the  Hbrary  interior.  There  is  generally 
a  corner  that  is  reluctant  to  be  a  right  angle;  and  the  per- 
spective seems  not  to  be  less  difficult  because  of  its  small 
compass ;  if  it  were  larger  an  error  might  be  lost  in  it.  Oft- 
times,  too,  the  engraver  has  to  work  from  a  photograph, 
has  to  correct  its  errors.  The  plates  of  the  Union  League 
Club,  Mr.  Woodbury  and  Professor  Gray,  are  notable  ex- 
amples in  this  sort;  and  the  plate  of  Miss  Robinson  shows 
more  than  the  mastery  of  the  difficulties  of  the  style.  The 
first  state  of  the  plate  showed  a  library  lighted  by  the  late 
afternoon  sun.  Books,  table,  mantel,  all  were  shaded  to  ac- 
cord with  a  brighter  window  and  a  duller  fire.  The  pleas- 
anter  hour  of  dusk  was  afterward  decided  upon,  and  the 
fire  glows  more  cheerily  by  reason  of  the  waning  day- 
light. In  either  state  we  have  a  delicate  appreciation  of 
light  and  shadow. 

Mr.  French  would  hardly  choose  a  portrait  for  his 
graver.  Indeed,  the  miniature  portrait  has  always  been  a 
great  test  to  engravers.  He  was  inclined  toward  landscape 
work  and,  as  in  painting  so  is  it  in  engraving,  the  fields  of 
art  seldom  unite.  In  portraiture  only  is  there  ever  a  dis- 
tinct effort  in  his  finished  work,  and  that  is  because  he  strove 
to  portray  character,  a  difficult  feat  even  at  first  hand. 
There  is  strength  and  vigor  and  the  man's  character  in  the 
Mark  Skinner  Library  plate,  just  as  the  character  of  Dr. 
Storrs,  benignant  yet  commanding,  is  fixed  in  that  of  the 
Long  Island  Historical  Society.  And  one  turns  again  and 
again  to  the  child  portrait,  brimming  with  eagerness  and  al- 
together lovely,  in  Mrs.  Prescott's  plate. 

The  same  flexibility  with  which  Mr.  French  met  the  de- 
sires of  his  clients  in  the  designing  and  executing  of  their 
book-plates,  enabled  him  to  successfully  render  the  designs 
by  other  artists  that  were  from  time  to  time  submitted  to 

24 


HIS  ART 

him.  There  lies  a  danger  in  this  combination  of  designer 
and  engraver,  for  a  heavy-line  plate  like  those  of  the 
Authors  Club  and  Mrs.  Ward,  or  a  plate  like  Mr.  Dana's 
which  combines  both  heavy  and  light  lines,  is  simple  as 
compared  with  a  wash-drawing  that  calls  for  photogravure 
or  mezzotint  rendering— if  the  latter  were  within  reach— 
and  may  well  dismay  a  line-engraver.  Occasionally  an- 
other's design  was  suited  exactly  to  Mr.  French's  art,  and 
he  must  have  lent  himself  to  it  with  zest.  Such  were  Mr. 
Tyron's  designs  of  the  Sovereign  plates,  that  of  Mr.  Bell 
for  Mr.  Osborn's  plate,  Mr.  Curtis's  design  for  the  Cosmos 
Club,  the  fine  classic  designs  by  Mr.  Goodhue,  and  the  de- 
sign by  Mr.  Black  of  his  own  plate.  I  fancy  Mr.  French 
must  have  treated  these  designs  by  other  artists  somewhat 
as  studies,  quite  as,  in  1893,  he  studied  and  varied  the 
"Chippendale"  plate  of  Samuel  Vaughan  adding  much  to 
its  grace;  or,  perhaps,  as  he  reproduced  the  armorial  plate 
of  Mr.  Livermore  after  the  copper  was  destroyed,  adding 
here  and  there  in  detail  and  giving  what  might  be  called  a 
second  edition.  Again,  and  more  generally,  he  endeavored 
to  follow  the  design  literally,  as  in  the  De  Chaignon  plate 
and  in  the  Acorn  series  of  Old  New  York  views. 

It  was  his  good  fortune  to  execute  many  book-plates  for 
collectors  and  connoisseurs  of  national,  or,  rather,  inter- 
national repute,  and,  with  deference  it  may  be  said  that  no 
class  of  clients  could  be  more  particular  or  more  exacting. 
It  must  also  have  been  a  matter  of  pride  to  him  that  he  was 
called  upon  to  design  and  execute  the  book-plates  of  so 
many  societies,  clubs,  and  libraries.  Those  of  the  Grolier 
Club  and  the  Club  of  Odd  Volumes  almost  record  the  his- 
tory and  the  purpose  of  each.  The  Princeton  University, 
Union  League  Club,  and  Metropolitan  Museum  plates  are 
fine  examples,  incidentally,  of  the  progress  of  art  in  this 

25 


EDWIN  DAVIS  FRENCH 

class  of  book-plates,  and  more  particularly  of  Mr.  French's 
aptness  in  rendering-  a  local  or  personal  quality  to  plates 
that  in  old  days  would  have  been  but  formal  labels,  or 
worse,  mere  educational  rhapsodies. 

In  this  relation  one  cannot  pass  without  mentioning  the 
splendid  group  of  work  he  did  for  Harvard  University, 
comprizing  the  Hohenzollern,  the  Child  Memorial,  the 
Harvard  Union,  the  Societas  Signatis,  the  Digamma  Soci- 
ety, and  the  Cercle  Frangais  book-plates,  three  of  which  are 
from  dignified  designs  by  Mr.  Goodhue.  It  is  difficult  to 
choose  between  them  in  beauty  or  in  fitness,  though  per- 
haps by  virtue  of  its  purpose  and  its  fame  among  plate 
collectors  the  Hohenzollern  stands  distinct.  No  German 
engraver,  inspired  by  patriotism  and  breathing  the  air  of 
the  Dlirer  country,  ever  gave  a  wilder  vigor  and  more  tri- 
umphant majesty  to  the  eagle  of  the  Hohenzollerns  than 
Mr.  French  has  given  it  here.  The  circumstances  govern- 
ing the  plate  forced  on  it  an  unusual  amount  of  text,  which, 
in  its  variety  and  balance,  perhaps  presents  in  it  a  better 
study  of  what  may  be  called  the  science  of  lettering  than 
any  other  of  his  book-plates.  Lettering  was  not  a  branch 
of  the  art  that  he  particularly  sought,  however  much  he  ex- 
celled in  it.  He  considered  rather  that  for  his  purpose  there 
was  in  it  neither  nature  nor  human  nature,  whatever  its 
evolution  might  be.  Writing  to  his  friend,  Mr.  Baillie,  he 
discusses  its  difficulty,  saying  that  it  is  a  very  "narrow 
track  to  follow  between  having  your  work  look  as  though  it 
were  made  with  a  machine  and  having  it  appear  the  work 
of  an  unskilled  and  incompetent  workman."  This  narrow 
path  he  followed,  where  he  could,  and  the  character  of  the 
plate  admitted  it,  choosing  the  exacting-  but  always  satis- 
factory roman  alphabet,  which  he  varied  by  shading  or  by 
an  added  graceful  touch  to  the  more  flexible  letters. 

26 


HIS  ART 

The  Hohenzollern  plate  is  also  a  good  example  that 
might  be  duplicated  among  the  private  plates,  of  Mr. 
French's  unflagging  interest  in  the  desires  of  his  client. 
The  design  was  long  under  discussion,  letters  on  letters 
passed  to  and  from  Mr.  French,  German  and  American 
authorities  were  consulted,  every  possible  detail  was  care- 
fully considered  and  decided,  and  finally  the  plate  was 
struck  oflf  in  various  colors  for  the  immediate  purpose  of 
celebrating  the  advent  of  the  Germanic  Library  for  which 
it  was  engraved,  and  the  visit  of  Prince  Henry  to  the  Uni- 
versity. 

It  seems  a  long  step  from  this  important  group  of  col- 
lege, library,  and  society  plates,  strong  in  their  character,  to 
the  larger  group  of  ladies'  book-plates  that  Mr.  French 
produced.  These  are  so  attractive  in  their  delicacy  and  re- 
finement, and  in  their  widely  different  ornamentation  and 
symbolism,  that  if  Mr.  French  had  confined  his  attention  to 
this  class  of  designing,  they  would  have  given  him  dis- 
tinction. The  plates  of  Miss  Robinson,  Mrs.  Whitin,  and 
Miss  Slade,  are  but  three  of  many  that  might  be  cited  with- 
out approaching  similarity.  The  exquisite  plate  of  Miss 
Lawrence,  so  ruthlessly  sacrificed  in  an  English  reproduc- 
tion, is  fine  and  clear  as  an  intaglio,  perfect  in  its  way,  and 
quite  unlike  the  equally  charming  plates  of  Mrs.  Wood, 
Miss  Cheney,  Miss  Adams,  Miss  Lefferts,  Mrs.  Lee,  Miss 
Messenger,  Mrs.  Gary,  and  Mrs.  Metcalf.  Taken  together 
they  amaze  one  by  their  revelation  of  the  pictorial  possibil- 
ities of  the  book-plate. 

Mr.  French's  great  delight  in  the  work  of  the  German 
Little  Masters  helped  him  to  follow  in  their  footsteps  and 
produce  in  scarcely  thirteen  years  this  long  series  of  nearly 
three  hundred  book-plates,  these  little  masterpieces  of  his 
own.     They  won   for  him  too  the  same  title,   of   which 

27 


EDWIN  DAVIS  FRENCH 

he  was  pardonably  proud,  and  they  have  secured  for  him  al- 
most classic  rank  among  engravers ;  his  fame  might  safely 
be  trusted  to  them.  Yet  he  was  drawn  into  other  fields 
at  the  very  beginning  of  his  engraving  on  copper. 
Designs  and  medals,  elaborately  conceived  and  engraved 
certificates  of  membership  in  societies  of  distinction,  and 
title-pages  and  illustrations  for  privately  printed  books, 
were  sought  at  his  hand.  The  first  of  these  miscellaneous 
engravings  was  done  for  Mr.  William  Loring  Andrews. 
This  strong  and  brilliant  engraving,  of  the  good  ship  Bri- 
tannia, the  packet  in  which  Charles  Dickens  came  to  Amer- 
ica, is  the  frontispiece  of  Mr.  Andrew's  brochure  on  Irving 
and  Dickens.  "Please  do  not  touch  the  plate  further,"  writes 
Mr.  Andrews,  "I  do  not  think  it  could  be  improved."  Here 
lies  the  ship  at  anchor,  looming  in  contrast  to  the  smaller 
craft  shown  in  the  distance,  and  standing  out  in  a  placid 
harbor  against  an  evening  sky  that  engravers  delight  in,  and 
which  furnished  Mr.  French  his  first  opportunity  to  show 
his  technique  in  long,  straight  lines,  now  light,  now  heavy, 
each  line  with  its  purpose  in  representing  sky  and  cloud. 
The  "Chippendale"  shell,  already  noted,  is  used  in  the  bor- 
der of  the  picture  with  such  lightness  and  grace  as  I  doubt 
ever  to  see  elsewhere.  Here  it  is  used  with  the  freedom  of 
the  Louis  XV  decoration  and  In  good  contrast  with  the  for- 
mal and  regular  use  of  it  found  much  later  in  the  book- 
plate of  Mr.  Henry  C.  Bernheim. 

It  was  for  Mr.  Andrews  also  that  Mr.  French  engraved 
his  best  example  following  the  French  spirit,  in  the  title- 
page  to  "Three  French  Engravers."  With  all  the  beauty 
of  the  French  engravings  of  this  sort,  their  deftness  of 
shading  and  airy  balance  of  ornament,  there  is  something 
in  them  that  seems  transitory,  and  sometimes  even  trivial. 
Mr.  French  escapes  the  dangers  of  the  national  style,  and 

28 


HIS  ART 

at  the  same  time  he  gives  a  title-page  as  delicate  and  grace- 
ful as  the  French  masters  themselves  might  desire. 

In  the  complex,  engraved  title-page  of  "Andre's  Jour- 
nal," he  displays  a  fine  sympathy  with  his  subject,  making, 
we  may  say,  an  American  design  suited  to  so  important  an 
historical  document.  His  own  description  is  given  in  the 
list  of  his  miscellaneous  engravings. 

The  title-page  of  Mr.  Arnold  Wood's  "Bibliography  of 
the  Complete  Angler,"  is  very  different.  Here  is  ample 
text  arranged  on  panels  and  cartouches  which  do  not  en- 
croach in  any  way  with  the  scroll  decoration,  but  rather  ap- 
pear to  float  upon  it,  for  it  is  nothing  more  nor  less  than 
conventionalized  water;  ripples  and  swirls  sweep  over 
the  page,  half  obscuring  the  water  plants,  and  from  the 
midst  two  wonderful  dolphins  peer  out  upon  the  reader, 
and  bear  out  the  significance  of  the  title. 

The  Certificate  of  the  New  York  Historical  Society,  is 
the  largest  plate  that  Mr.  French  produced.  It  is  a  singu- 
larly fine  composition,  harmoniously  associating  a  compre- 
hensive variety  of  essential  details  and  giving  to  each  its 
individual  value;  and  is  altogether  a  plate  of  great  vigor 
and  notable  brilliance.  At  the  top,  on  a  ribbon  that  folds 
over  the  Colonial  border  of  the  plate,  is  the  name  of  the  so- 
ciety. Under  this,  standing  on  a  globe,  is  the  American  ea- 
gle, realistically  rendered.  The  seals  of  State  and  City  are  in 
small  cartouches  beneath  the  globe,  and  at  either  side  and 
under  these  are  three  exquisite  miniatures,  depicting  the 
Half  Moon  sailing  under  the  Palisades,  Block's  view  of  New 
Amsterdam  in  1650,  and  the  present  home  of  the  society, 
this  last,  one  of  Mr.  French's  finest  architectural  engravings. 
Free  flowing  acanthus  scrollwork  incases  and  connects  these 
miniatures  and  symbols.  The  lower  half  of  the  plate  is  de- 
voted to  the  membership  inscription. 

29 


EDWIN  DAVIS  FRENCH 

The  hesitancy  with  which  he  approached  these  large 
plates  is  curiously  in  contrast  with  his  triumphs  over  them. 

A  certain  trait  in  Mr.  French's  work  appears  more  gen- 
erously in  the  certificates  than  in  any  others  of  his  engrav- 
ings. It  lies  in  the  field,  or  cartouche,  whereon  is  placed  the 
inscription  and  the  name  of  the  holder  of  the  certificate. 
This  is  not  merely  a  field  for  lettering;  it  is  not  stippled; 
nor  is  it  lightly  run  across  with  faint  lines  or  delicate  cross- 
hatching  ;  but  it  is  engraved  with  infinite  pains  to  represent 
parchment,  and  most  thoroughly  it  does  so.  A  fountain 
pen  would  ill  be  used  upon  it;  it  should  be  engrossed  with 
a  quill  or  nothing. 

The  generous  courtesy  of  Mrs.  Holden  allows  the  origi- 
nal publication  here  of  one  of  Mr.  French's  most  signifi- 
cant plates  of  general  character,  the  Harvard  Quadrangle. 
As  here  represented,  these  old  buildings  have  a  reality; 
there  is  no  stiff  formality  about  them ;  they  speak  the  digni- 
fied welcome  that  the  Quadrangle  itself  offers.  The  trees, 
whose  bark  and  leaves  have  life,  arch  gracefully  over  the 
scene,  which  shimmers  and  glows  with  the  sunlight  and 
suggests  the  atmosphere  attained  by  a  successful  land- 
scapist.  Historically  and  alone  the  plate  is  notable,  but  it 
seems  also  to  fitly  complete  Mr.  French's  association  with 
Harvard. 

It  was  Mr.  French's  good  fortune  to  be  largely  associ- 
ated as  an  engraver  with  the  city  of  New  York,  and  to  have 
the  appreciative  friendship  of  those  interested  in  the  pic- 
turesque and  historical  points  of  the  city;  an  interest  that 
resulted  in  a  group  of  engravings,  excelled  perhaps  by  the 
similar  work  of  no  other  engraver.  In  these  he  rightfully 
took  great  interest,  for  he  loved  his  adopted  home.  The 
Iconophile  plates,  a  rare  and  much  sought  series  of  engrav- 
ings of  New  York  buildings  of  importance,  represent  several 

30 


HIS  ART 

that  time  in  its  march  has  now  swept  aside  or  materially 
changed;  the  Distributing-  Reservoir,  the  old  Tombs,  the 
National  Academy  of  Design,  and  Fraunce's  Tavern,  are 
worthily  recorded  among  them.  In  the  Acorn  series  and  in 
New  Amsterdam,  and  "The  Old  Book-Sellers  of  New 
York,"  Mr.  French  very  truthfully  reproduced  some  fine  old 
views  not  easily  gathered,  and  nowhere  else  found  together. 
In  addition  to  these  invaluable  groups  there  are  in  the  book- 
plates of  Mr.  Blackwell,  Mr.  Andrews,  Mrs.  Plummer,  the 
Dean  Hoffman  Library,  A.  C.  Bernheim,  and  Mr.  Black, 
and  in  the  membership  certificates,  some  choice  miniatures 
that  those  interested  in  New  York  views  cannot  overlook. 

Time  seems  already  to  have  given  its  test  to  much  of 
Mr.  French's  work.  It  is  often  what  in  verse  we  would 
speak  of  as  occasional,  but  with  what  imagination  and 
soul  he  has  infused  it  and  given  it  a  lasting  interest!  He 
gave  himself  quite  wholly  to  his  art,  and  with  what  may  be 
called  a  resolute  enthusiasm.  He  could  but  put  his  own 
character  into  his  engravings,  and  that  character  was  noble 
in  its  strength  and  honesty  and  delicacy. 

Ira  Hutchinson  Brainerd. 


31 


BOOK-PLATES 


1  Helen  |  Elvira  |  Brainerd.  |  1893 1893 

a  Background  of  cypher  formed  of  dotted  and  continuous 

alternate  lines. 
b  Lines  of  background  all  continuous. 
E.D.F.  Sc. 


2  Mary  I  Brainerd]  French  I  1893 1893 

a  Plate  dark,  unsigned. 
b  Plate  lighter. 
E.D.F.  Sc. 


3  Edwin  Davis  French 1893 

E.D.F.  Sc.    1893. 

Mr.  French's  "Volapuk"  plate. 

4  Helen  Elvira  Brainerd.     MDCCCXCIV  ....     1893 

EDFSc 

5  EDF  (Edwin  Davis  French) 1893 

EDF.  Sc. 

a  Without  frame,  in  which  form  one  hundred  copies  were 

printed,  Ex  Libris  on  ribbon  in  centre. 
b  With   frame   added,   and   motto   re-engraved.     Printed   in 

brown,  black,  green  and  red. 
c  Change  in  motto, — imitare  to  imitari.     Printed   in  black, 

brown  and  blue. 
d  Full  name,  Edwin  Davis  French,  in  centre.    Ex  Libris  on 

33 


EDWIN  DAVIS  FRENCH 

ribbon  at  side,  and  signature  replaced  by  ipse  fee.  This 
change  was  made  in  1901.  Printed  in  brown,  black  and 
green. 

6  Cora  Artemesia  Leggett 1894 

EDF.  Sc.    1804 

7  Beverly  Chew 1894 

EDFSc.     1894 

8  Charles  E.  Clark,  M.D.    1894 1894 

EDFSc. 

With  books. 

9  Charles  E.  Clark,  M.D 1894 

EDFSc.     1894 

Floral. 

10  In  Memoriam.  |  Ellen  Walters  Avery.  | 

New  York,  March  25,  1893 1894 

a  Panel  blank. 
b  As  above. 
EDFsc. 

c  With  these  words :  Her  books  presented  to  Teachers  Col- 
lege 1897 

11  William  Loring  Andrews 1894 

E  D  French  sc.    1894 

12  The  Oxford  Club.    Lynn 1894 

EDFSc.    1894 

13  The  1  Players  \  Either  for  Tragedy  |  Comedy  History.  ] 

Hamlet.    Act  II.  |  Scene  II 1894 

E.D.F.  Sc.    1894- 

34 


BOOK-PLATES 

Design  by  Howard  Pyle. 

a  As  above. 

b  A  smaller  plate, — a  photogravure  reduction  three  inches 
high,  retouched  with  graver  by  Mr.  French,  but  with- 
out his  signature. 


14  Whitelaw  Reid 1894 

E  D  French  sc.     1894 

A  few  proofs  were  taken  with  darker  clouds  and  sky. 

15  Marshall  Clifford  Lefferts 1894 

E  D  French  sc.    1894 

16  Edward  Hale  Bierstadt 1894 

E  D  French  sc.    1894. 

17  W.  E.  Baillie 1894 

E  D  French  fee.    1894 

18  Colonial  Dames  of  America 1894 

a  Panel  and  ribbon  blank. 

b  Twelve  proofs  only,  signed  on  ribbon. 

E  D  French  sc.    1894 

c  With  copyright  notice  on  ribbon. 
EDF  sc. 

19  Charles  B.  Foote 1894 

E  D  French  sc,  1894. 

a  Rays  from  lamp  overflow  edge  of  medallion. 
b  Field  of  rays  reduced,  not  touching  medallion. 

20  Henry  Blackwell 1894 

E  D  French  sc.     1894 

35 


EDWIN  DAVIS  FRENCH 

21  The  Grolier  Club 1894 

a  Before  all  letters,  save  titles  of  books.  Leaf  and  scroll 
work  nearly  all  shaded.  Open  volume  at  bottom  heavily 
etched. 

b  Plate  lettered,  decoration  shaded,  open  volume  lightly 
etched. 

E  D  French  sc.    1894 

c  Initials  /  A  (Jost  Amman)  added  in  panel  showing  early 
method  of  presswork  and  composition. 

d  Date,  1568,  added  after  letters  /  A. 

e  An  electrotype  with  the  words  No. — Case — Shelf — .  This 
electrotype  was  used,  before  the  index  words  were  added, 
in  printing  the  frontispiece  of  the  small  paper  edition  of 
Mr.  Allen's  American  Book-Plates.  The  copper  plate 
was  used  for  the  large  paper  edition. 

22  Hiram  Edmund  Deats  |  Flemington,  N.J 1894 

a  Upper  part  engraved,  panel  not  lettered,  lower  part  not 
begun. 

h  As  above. 

E  D  French  sc,  1894. 

23  Edwin  B.  Holden 1894 

E  D  French  sc.     1894 

a  Left  hand  of  figure,  save  index  finger,  closed,  wreath  promi- 
nent.    Plate  destroyed  after  six  impressions. 

b  The  same  design,  left  hand,  save  middle  finger,  open, 
wreath  close  to  head  as  in  the  antique,  no  motto. 

c  Motto  from  De  Bury  added. 

The  signature  in  b  and  c  is  above  the  date,  in  a,  beneath  it. 

24  Edwin  B.  Holden     1894 1894 

EDFSc. 

The  smaller  plate,  with  open  book  at  bottom  of  plate. 

25  Alice  C.  Holden 1894 

a  Upright  book  not  lettered. 
36 


BOOK-PLATES 

b  Engraving  deeper  cut;  book  lettered. 
E  D  French  sc.     1804 


26  Edwin  R.  Holden 1894 

E  D  French  sc.     1894 

27  John  Page  Woodbury.     1894 1894 

o  Foliage  and  ribbon  only  at  top ;  books  outlined. 
b  View  of  Boston  and  library  interior  added. 
c  Books  engraved,  also  portrait  of  Cruikshank.     Plate  com- 
plete. 
ED  French  sc. 

A  few  proofs  have  remarque;  an  arbutus  spray. 

28  Richard  B.  Coutant 1894 

a  Books  lack  titles. 
b  Titles  indicated. 
E  D  French     1894 

29  James  J.  Goodwin 1894 

E  D  French    1894 

30  Francis  Goodwin 1894 

E  D  French    1894 

a  Panel  white,  no  titles  on  books. 

b  Church  in  panel,  titles  of  books  indicated. 

31  Beverley  Warner,  M.A.     .    " 1894 

E  D  French  fee     1894 

Proofs  in  two  states. 

32  Jonathan  Godfrey  |  Fairfield,  Conn 1894 

a  Unsigned. 

b  Signed,  plate  darker. 

E  D  French  sc.    1894. 

37 


EDWIN   DAVIS  FRENCH 

33  Charles  Conover  Kalbfleisch 1894 

E  D  French  sc.     1894. 

a  Scales  and  feathers  shaded. 

h  Scales  not  shaded,  feathers  shaded  but  lightly. 

34  Henry  Sherburne  Rowe 1894 

.    E  D  French,  1894 

a  Stipple   or   horizontal  lines   used   in   background   of  two 

small  panels  at  sides. 
b  Slanting  lines  substituted  for  stippling. 

Two  states  of  proofs. 

35  Emily  Hoe  Lawrence 1894 

EDF    1894 

36  James  Hale  Bates 1894 

E  D  French  sc.     1894 

a  Books  under  lamp  not  lettered. 
h  Books  lettered. 

37  Richard  Southcote  Mansergh  |  Friarsfield,  |  Tipperary.    1 895 

a  A  few  proofs  taken  before  insertion  of  name. 
h  Without  frame  or  signature. 
c  With  frame  and  signature. 
E  D  French  sc.     1895 

38  Louis  L  Haber 1894 

E  D  French    1894 

39  L  B  L  (L.  B.  Lowenstein) 1895 

EDF    1895 

40  Library  |  of  the  ]  Metropolitan  Museum  of  Art  | 

New  York  City 1895 

E  D  French  sc.     1895 

38 


BOOK-PLATES 

a  With  view  of  the  Cruger  Mansion,  home  of  the  Museum 

from  1873  to  1878. 
b  With  view  of  the  home  of  the  Museum  in  Central  Park. 

The  word  Purchased — in  panel,  a  few  dotted  lines  in 

road. 
c  Road  shaded  in  stipple. 
d  The   same,   with   words  Presented  by — substituted.     The 

first  variety  appears  both  with  and  without  the  words 

Case — Shelf — ,  the  others  only  with  them.     Proofs  have 

word  Proof. 

41  E.  D.  Church 1895 

EDF    1895. 

a  Outline  of  continents  faint. 
b  Continents  clearly  defined. 

42  A.  C.  Bernheim 1895 

E  D  French  Sc.     1895 

43  Alice  C.  Bakewell.     1849-1893 1895 

E.D.F.    1895 

44  Charles  B.  Alexander 1895 

E.D.F.    1895. 

45  James  J.  Goodwin 1895 

EDF    1895 

46  James  William  Ellsworth 1895 

ED  French.     1895 

47  Beverly  Chew 1895 

E  D  French  sc.    189$. 

48  Henry  H.  Vail 1895 

E  D  French  sc.     1893 

a  Cartouche  notched  an  eighth  of  an  inch  at  top. 
b  Cartouche  notched  three  eighths  of  an  inch. 

39 


EDWIN  DAVIS  FRENCH 

49  Thomas  Jefferson  McKee 1895 

EDF    1S95 

50  M.  Taylor  Pyne.     1895 1895 

E  D  French  sc. 

51  Micajah  P.  Clough.     1895 1895 

a  No  date  in  plate. 
EDF    1895 

b  As  above. 
EDFsc. 

Adapted  from  a  design  furnished  by  the  owner. 

52  Henry  A.  Sherwin 1895 

E  D  French  sc    1895 

53  Samuel  F.  Barger 1895 

E.D.F.  sc.    1895 

54  Marias  Gerard  Messenger     1895 1895 

E  D  French  sc. 

a  No  shading  on  lower  dexter  side  of  shield  with  Branden- 
burg book-plate. 
b  Stipple  shading  added. 

55  William  Frederick  Havemeyer 1895 

Design  by  Thomas  Tryon. 

56  Theo.  L.  DeVinne 1895 

Design  by  G.  F.  Babb. 

C   Thomas  Mott   ) 

57  J  Agnes  Devens^  Osborne 1895 

a  Framed,  panel  blank,  flowers  in  outline. 

b  As  above. 

EDF 

40 


BOOK-PLATES 

58  Frank  Evans  Marshall 1895 

a  Panel  and  ribbon  white.    Outside  lower  frame  outline. 

b  Decoration  nearly  all  shaded;  frame  shaded. 

c  As  above. 

E  D  French    1895 

59  Champaign  Public  Library  |  This  book  was  purchased  |  by 

the  [Julia  F.  Burnham  j  Memorial  Fund.      .     .     1895 

60  Biltmoris     GWV     1895 1895 

Design  by  the  owner,  George  W.  Vanderbilt. 

a  With  date  on  cartouche. 
b  With  date  on  ribbon. 

Some  early  proofs,  in  olive  ink,  have  the  figure  5,  incomplete. 
Two  trial  proofs. 

61  E  H  (Edith  Holden) 1895 

EDF 

62  The  I  Club  of  Odd  |  Volumes 1895 

a  Upper  half  of  plate  engraved,  the  rest  chiefly  outline. 
b  Plate  completed,  somewhat  dark. 
E  D  French  Sc.     1895 

c  Plate  rubbed  down,  impression  much  lighter. 

63  Percy  Rivington  Pyne 1895 

E  D  French  sc.     1895 

64  J.  King  Goodrich 1895 

EDF 

65  William  Lanman  Bull 1895 

E  D  French  sc.     1895 

41 


EDWIN  DAVIS  FRENCH 

66  Micajah  Pratt  Clough.     1896 1896 

EDF  sc 

67  The  Association  of  the  Bar  |  of  the  City  of  New  York.  | 

The  Library  of  |  Charles  H.  Woodbury,  |  a  former  mem- 
ber of  this  Association,  |  was  given  to  it  by  his  widow,  | 
and  this  book  forms  part  thereof.  | 1 895 

68  V.  E.  M.  (Valentine  Everit  Macy) 1896 

a  Six  unsigned  proofs  were  printed  before  letters. 
h  With  letters  V.E.M.  and  No.  . .     Unsigned. 
c  Changed  in  igoo  to 

Valentine  Everit  )    , , 

Edith  Carpenter  j   ^^^'^^' 
EDF 

69  Biltmoris    GWV     1895 1896 

Like  No.  6o,  but  smaller,  foliage  slightly  more  elaborate.  The 
date,  1895,  on  prints  only,  refers  to  the  design.  Prints 
without  date  also  exist. 

a  With  date  on  cartouche. 
b  With  date  on  ribbon. 

70  Tracy  Dows 1896 

EDF 

A  few  trial  proofs. 

71  Sovereign 1896 

Design  by  Thomas  Tryon. 

a  In  outline,  before  letters. 
b  Finished  plate. 

The  Crown  plate. 

This  design  was  originally  process  engraved.    The  name  was 

in  the  plate  and  there  was  no  panel  underneath.     Several 

sizes. 

42 


BOOK-PLATES 

72  The  Edward  Tompkins  McLaughlin  |  Memorial  Prize  in 

English  I  Composition.    Founded  a.d.  |  MDCCCXCIV  ] 
Awarded  to  \  ]  President .     .     1896 

a  Three  large  panels  and  book  blank. 

b  Panels  engraved,  no  ornament  in  lower  panel. 

c  Plate  complete,  as  above. 

E  D  French  sc.    1896 

73  Christian  Archibald  Herter 1896 

E  D  French     1896 

74  A.  J.  Morgan 1896 

EDF    1896 

a  Portrait  of  Thackeray  as  grey  haired. 
b  Thackeray  younger,  more  erect. 

75  Howard  Willets 1896 

EDF 

a  Lower  panel  blank. 

b  Portrait  of  George  Cruikshank. 

A  few  trial  proofs. 

76  Presented  to  \  ,  Esq""  |  With  the  Compliments  of  | 

William  Loring  Andrews 1896 

a  Flowers,  books  and  ribbon  only. 

b  Ribbon  lettered;  script  lettering  engraved. 

EDF 

c  Lettering  completed;  frame  added. 

77  Robert  Sedgwick 1896 

a  Without  signature  or  date. 
b  Signed  and  dated. 
E.  D.  French  fee*,  1896 

Signed  proofs  exist  with  tuft  of  crest  lion's  tail  pointing  back. 
43 


EDWIN  DAVIS  FRENCH 

78  Chas  I  H  [  Taylor  |  Jr 1896 

EDFsc.    1896 

Design  by  E.  B.  Bird. 

Some  proofs  show  slight  changes  in  shading  of  sea  and  sails. 


79  Sovereign 1896 

Design  by  Thomas  Tryon. 
The  Eagle  plate. 


80  Harriet  Blair  Borland 1896 

EDFsc    1896 

a  Rays  spring  from  flame,  their  field  large. 

h  White  ring  about  flame. 

c  Field  of  rays  small :  they  spring  from  ilame. 

81  Mary  Emma  Plummer 1896 

a  Books  only  engraved,  rest  in  outline. 

b  Face  shaded. 

c  View  of  New  York  outlined. 

d  Outlines  filled  in,  plate  lettered.    Wake  of  boat  rough. 

E.D.French  sc.    1896 

e  Water  quite  placid. 

82  Henry  A.  Sherwin 1896 

E  D  French  sc.    1896. 

Same  as  No.  52,  one  and  three-quarters  inches  high,  name 
included.    Two  states  of  proofs. 

83  The  John  Crerar  |  Library  Chicago.  [1894    .     .     .     1896 

a  Portrait  engraved  and  background  finished. 
h  Plate  completed.    As  above. 
E  D  French  sc.     1896 

c  With  words  Presented  by — 
44 


BOOK-PLATES 

84  The  Denver  Club 1896 

Design  by  Cora  E.  Sargent. 

a  With  name  of  designer.     A  few  impressions  only. 
b  Signature  added.     A  few  only. 
EDF  sc. 

c  Engraving  lighter.    Name  of  designer  and  signature  erased 

85  Edwin  Ruthven  Lamson     1896 1896 

Design  by  Edmund  H.  Garrett. 

a  Twelve  proofs  were  taken  without  letters. 
b  Name  and  address  in  panel. 
E  D  French  sc. 

Trial  proofs  exist  with  the  three  graces  engraved,  border  in 
outline. 

86  Maria  Gerard  Messenger     1896 1896 

Dono  •  Hunc  •  Librum  •  Dedi. 
E  D  French 

a  With  panel  blank. 

b  With  books. 

c  With  child's  portrait.     Four  copies  only. 

d  With  view  of  Pleasantville  Library. 

e  With  inscription:  Associata  \  Bibliothecani  S.  Marice  \  Sci- 

entice  Sacrce.  \  St.  Mary's  School,  8,  East  46th  Street  \ 

New  York  City. 

87  Catherine  A.  Bliss.   .     .     .     : 1896 

EDF    1896 

A  few  trial  proofs. 

88  The  Collection  of  [  Tho^  Addis  Emmet  M.D  ]  Presented  by  | 

John  Stewart  Kennedy  [  to  the  |  New  York  Public  Li- 
brary I  Astor,  Lenox  and  Tilden  Foundations.  1 1 896.  1 896 
EDF 

45 


EDWIN  DAVIS  FRENCH 

89  Adelle  Webber  Gray 1897 

EDF 

90  O.  A.  K.  (O.  A.  Kahn) 1897 

E  D  French    1897 

91  Lucy  Coleman  Carnegie 1897 

EDF    (Script  cypher.) 

92  Robert  H.  McCarter 1896 

EDF- 1896 

93  John  Lloyd  Stearns 1897 

EDF    (Script  cypher.)    1897 

Proofs  in  two  states. 

94  Edith  Davies  Kingsbury 1897 

Design  by  Lilian  C.  Westcott. 

a  Without  signature  or  date. 
b  With  signature  and  date. 
E  D  French  sc.     1897 

95  Juliani- Marshall.    MDCCCXCVI 1897 

a  Upper  part  of  plate,  save  music  roll,  finished;  the  lower 

part  in  outline. 
h  Complete,  signed. 
ED  French  Sc. 

Twenty  proofs  of  this  plate,  some  in  black,  some  in  reddish 
brown,  and  one  with  half  the  plate  in  sepia  and  half  in 
black  tempered  with  carmine,  have,  as  a  remarque,  a  por- 
trait in  drypoint  of  Mr.  French  by  himself. 

96  Candidati 1897 

E  D  F  sc    (Script  cypher.) 

a  Without  name  of  owner. 
46 


BOOK-PLATES 

b  With  name,  Helen  Runyon  Belknap,  in  curved  line  below 
the  design. 

There  are  several  electrotype  variations  of  this  plate  but  the 
above  are  the  only  impressions  from  the  original  copper. 
Some  of  the  later  plates  carry  the  owner's  name  beneath 
the  design  while  some  carry  it  on  the  ribbon  and  omit 
the  word  Candidati: — 

c  Helen  Hunt  Daly. 

cc  Helen  Keyes. 

d  Margaret  Chase  Wilson. 

e  Sara  King  Wiley. 

/  Georgiana  Goddard  King. 

g  Kate  Dickinson  Sweetser. 

h  Eveline  Warner  Brainerd. 

Two  states;  name  under  the  plate,  and  on  ribbon. 

j  Ellen  Rose  Giles. 
k  Elsie  Lewis  Day. 
/   Louise  Collier  Wilcox. 


97  William  Connell 1897 

EDF    (Script  cypher)  j597 

98  Authors  Club  Library 1897 

Design  by  George  Wharton  Edwards. 

Outside  measure,  3^  inches  high. 

The  engraved  plate  by  Mr.  French  is  not  to  be  confounded 
with  a  process  plate  slightly  larger  made  from  the  same  de- 
sign. 

99  Ruth  Mary  Sabin 

a  Horse's  head  in  outline,  upper  sinister  corner  of  plate  not 

engraved. 
EDF 

b  Horse's  head  engraved ;  golf  clubs  in  upper  corner. 

100  Child  Memorial  |  Library  |  To  |  Harvard  University  |  In 

47 


EDWIN  DAVIS  FRENCH 

Memory  of  |  Francis  James  Child  |  First  Professor  of 
English 1897 

E.D.French  sc.    1897 

A  small  engraved  frame,  unsigned,  with  the  words — The  Gift 
of  .  .  .  accompanies  plate  No.  100. 

101  The  Mark  Skinner  |  Library.    Manchester  |  Vermont.  | 

MDCCCXCVII 1898 

EDFsc. 

a  Hair  in  portrait  shaded  but  lightly. 

b  Hair  somewhat  darker. 

c  Deep  shading  in  oval  frame  closely  confined  to  dexter  side. 

d  With  words  Presented  by — 

Working  proofs  exist  with  ribbon,  book,  and  panel  unen- 
graved ;  portrait  finished. 

102  Paul  Lemperly,  His  Book 1897 

a  Frame  only,  unsigned,  undated.     A  few  proofs. 
b  Panel  completed.    Monk's  cheek  heavily  shaded. 

Five  proofs  only. 

E  D  French  fee.    1897. 

c  Monk's  face  lightened. 

(  Henry  Clay       ) 

^03    ^  Helen  Burgess  ^  R^^^^y ^^^^ 

E  D  French    1897. 

104  Edward  F.Burke 1897 

EDF    1897 

a  With  leopard  crest.     Six  proofs. 
b  Catamount  substituted  for  leopard. 

105  MolHe  Cozine  Lefferts 1897 

EDFsc.    1897 

48 


f> 


1.1BRAR"V    OF 

PR  INCH  TON 


BOOK-PLATES 

106  Mary  I  Minturn  I  Hartshorne 1897 

Design  by  Miss  E.  Brown. 

a  As  above. 

b  Name  changed  to  Mary  |  Minturn  |  Ward. 

107  M.  Taylor  Pyne 1897 

E  D  French  Sc.    i8g7 

a  Ribbon  blank  save  for  word  Pyne. 
b  As  above. 

c  An   electrotype   with   name   changed   to   Percy   Rivington 
Pyne. 

No  proofs  were  taken  after  letters. 

108  Library  of  I  Princeton  I  University 1897 

E  D  French  fee.     1897. 

109  Florence  de  Wolfe  Sampson 1898 

EDF    (Script cypher.) 

110  Abraham  Goldsmith 1898 

EDF    (Script  cypher.) 

111  George  Allison  Armour 1898 

EDF    (Script  cypher. ) 

a  Book  without  inscription. 

b  Book  inscribed.     Minor  touches  in  shading  plate. 

112  A.  Dwight  Stratton 1898 

EDF 

113  Samuel  W.  Lambert 1898 

EDF 

114  Barrett  Wendell 1898 

EDF.    1898. 

a  Flag  at  stern  of  ship. 
b  Flag  removed. 

49 


EDWIN  DAVIS  FRENCH 

115  Ex  Libris  Medicis 1898 

EDF 

Used  by  several  members  of  the  Gushing  family. 
Design  by  one  of  the  owners. 

116  Vassar  Alumnge  |  Historical  Association.  | 

MDCCCXCVI 1898 

E  D  French  sc.     1898. 

Some  impressions  are  without  the  date  1898. 

117  Samuel  Smith  Sherwood 1898 

EDFsc    1898 

1 18  The  Association  of  the  Bar  [  of  the  City  of  New  York,  j 

The  John  E.  Burrill  Fund 1897 

This  is  similar  to  No.  67,  yet  fuller  in  decoration. 

119  The  Association  of  the  Bar  |  of  the  City  of  New  York.  | 

Gift  of  James  C.  Carter 1898 

a  As  above. 

b  Lower  line  broken  to  read  Gift  of  \  James  C.  Carter. 

c  Without  name  James  C.  Carter. 

Same  in  design  as  No.  118. 

120  Henry  Rogers  Winthrop.     1898 1898 

E.D.French  sc. 

a  Sky  denoted  by  broken  and  somewhat  heavy  lines. 
b  Sky  reengraved,  in  continuous  fine  lines,  figure  and  foliage 
retouched. 

Proofs  in  two  states. 

121  James  A.  Goldsmith 1898 

EDF 

50 


'^lARY  BARBER 

CHESTER  PLACE 


BOOK-PLATES 

122  Twentieth  Century  |  Club  |  Ex  Dono 1898 

EDFsc. 

Design  by  Evelyn  Rumsey  Carey. 

a  As  above. 

b  Without  panel  at  bottom  which  carries  the  "Ex  Dono"  in- 
scription. 

123  Frederick  W.  Van  Wagenen 1898 

EDF    1898   (Script cypher.) 

Proofs  in  two  states. 

124  Georgette  Brown 1898 

Design  based  on  an  Eighteenth  Century  copper  plate. 

a  Without  border,  a  few  proofs  only. 

h  Slight  alteration  in  figures.    A  bright  spot  on  stone  seat. 

c  With  heavy  cross-hatched  border  added. 

125  Jennings  Stockton  Cox 1898 

EDF 

126  E.  P.  Williams 1898 

EDF 

127  Katherine  Cecil  Sanford  Thome.     1896  .     .     .     .     1898 

E  D  French  Sc 

a  As  above. 

h  The  Gift  of  Katherine  Sheffield,  and  i8g6  at  top  erased. 

128  Florence  Coleman  Nimick 1898 

E  D  French 

129  James  Edmund  Scripps 1898 

EDFsc. 

Design  by  Albert  Kahn,  1896. 
51 


EDWIN  DAVIS   FRENCH 

a  Upper  third  of  plate  engraved,  the  rest  in  outline. 
b  Two  heavy  lines  on  dexter  side  of  western  tower  of  cathe- 
dral ;  four  windows  in  small  tower. 
c  These  lines  light;  six  windows  in  small  tower. 


130  Arnold  Wood.     New  York  MDCCCXCVIII  .     .     .     1898 

E  D  French  sc. 

I 

131  Charles  L.  Dana 1898 

Design  by  A.  Kay  Womrath. 

132  Eva  I  Snow  |  Smith  |  Prescott  |  1898 1898 

E  D  French  sc 

Some  proofs  have  remarque  in  red  or  in  black;  a  toy  house 
and  soldier. 

133  Sidney  Ernest  Bradshaw 1898 

E  D  French  sc.     1S98. 

a  Back  of  Burns  volume  without  decoration. 
b  With  three  heraldic  roses. 

134  Edward  Swan  Stickney  |  Presented  to  the  Chicago  |  His- 

torical   Society    by  |  Elizabeth    Hammond    Stickney  | 
+  ObitJulyXIMDCCCXCVII+ 1898 

a  As    designed,    outlined    and    commenced    by    Mr.    French. 

Owing  to  ill  health  he  requested  Mr.  J.  W.  Spenceley  to 

continue  it. 
b  Nearly  completed  by  Mr.  Spenceley. 
c  Finished  by  Mr.  French,  the  last  work  being  the  head  of 

Hermes,  with  final  touches. 
E  D  French  sc.    1898 

135  John  P.  Talmage.    MDCCCXCIX 1899 

E  D  French  fee 

52 


BOOK-PLATES 

136  Edward  Courtland  Gale 1899 

E  D  French  fee.     1899 

a  With  motto  Tiens  la  foy. 

b  Motto  changed  to  Tiens  ta  foy. 

137  Ethel  Hartshorne  Wood 1899 

a  Titles  of  books  not  indicated. 
b  Titles  indicated. 

E  D  French  fee    1899 

138  Henry  Ren  wick  Sedgwick 1899 

E.D.French  fee.    1899 

139  Emil  Leopold  Boas 1899 

EDF    1899 

140  Louise  Taylor  Hartshorne  Moore    MDCCCXCIV  .     1899 

E  D  French  '99 

a  As  above. 

b  Louise  Taylor  Hartshorne  Leeds. 

141  Charles  Dexter  Allen 1899 

E  D  French  fee.     1899 

a  Large  panels  empty,  upper  sinister  small  panel  has  a 
charming  reduced  engraving  of  the  Authors  Club  book- 
plate. 

b  With  portrait  in  oval ;  proofs  only. 

c  Books  in  oval. 

d  Books  in  oval,  and  seal  of  Bibliographical  Society  substi- 
tuted for  that  of  Caxton  Club. 

Proofs  of  d  have  remarque;  Mt.  McKenzie  as  seen  from  Mr. 
French's  studio. 

142  Allan  C.  Bakewell 1899 

Portrait  engraved  by  S.  Hollyer. 

a  Portrait  engraved, — rest  of  plate  in  outline. 

53 


EDWIN  DAVIS  FRENCH 

b  Plate  complete,  as  above. 
EDF 

There  exist  a  few  proofs  of  a  slightly  smaller  plate,  with 
much  smaller  oval.  It  is  in  outline  save  that  the  portrait  is 
completed. 

(  George  Van  Wagenen  ] 

143  I  Margaret  Van  Nest       |  D^ryee 1899 

EDF    1899 

a  Four  horizontal  lines  across  windows. 
b  Windows  have  diamond  panes  added. 

Some  proofs  of  b  have  remarque;  a  pine  tree. 

144  A  W  (Arnold  Wood) 1899 

EDF    1899 

145  Gushing.    [Armorial] 1899 

146  John  Skelton  Williams 1899 

EDF    1899 

147  H  B  (Henry  Blackwell.) 1899 

148  K  M  (Katharine  Mackay.) 1899 

EDF 

149  Gornelia  Horsford 1899 

EDF  sc    1899 

a  Landscapes  quite  dark. 

b  Landscapes  lightened,  and  horse  reengraved. 

150  To 1  with  compliments  of  |  Henry  Blackwell.     1899 

E  D  French  Sc    1899. 

a  Some  proofs  are  with  blank  panels. 
b  Panels  filled  with  New  York  views. 

54 


BOOK-PLATES 

151  Maria  Gerard  Messenger  and  Elisabeth  Chamberlain  | 

The  Orchards 1899 

E  D  French  sc.    i8gg 

a  Dark,  one  broken  line  in  roof  shading. 
b  Lighter,  roof  shaded  in  unbroken  lines. 

152  Treadwell  Library  j  Massachusetts  General  Hospital  |  The 

Gift  of 1899 

Design  by  B.  G.  Goodhue. 

There  are  proof  impressions  without  the  inscription. 

153  This  volume,  |  for  insertion  in  which  the  Author  |  has  been 

pleased  to  write  his  name,  |                 |  is  the  property 
of  I  Paul  Lemperly 1900 

E  D  French  Sc.    igoo 

154  The  University  Club.  |  Cleveland,  |  MDCCCXCVIII.    1900 

E  D  F    igoo 

155  Robert  Emmet  Hopkins 1900 

E  D  French  Sc.     igoo 

156  Alice  S.  Cheney 1900 

E  D  French  fee.     igoo. 

157  The  Union  League  Club.  |  New  York  |  1863  .     .     .     1900 

ED  F    igoo 

a  All  windows  clear. 

h  Stained  glass  window  and  Venetian  blinds  engraved;  clear 
sjpace,  unshaded,  on  floor. 

c  Venetian  blinds  erased. 

d  Floor  entirely  shaded  in  stipple ;  two  shadows,  line  en- 
graved, starting  from  lower  sinister  corner,  point  toward 
center  of  floor. 

e  Venetian  blinds  restored. 

55 


EDWIN  DAVIS  FRENCH 

f  The  two  shadows   (d)    increased,  nearly  blended,  extend 

beyond  centre  of  floor. 
g  Words  Presented  by  added. 

The  first  six  states,  framed,  hang  in  the  Club  Library. 

158  C.  L.  F.  Robinson.  |  Newport,  R.  1 1900 

E  D  French  fee.     1900 

159  John  R.  Livermore 1900 

E  D  French  Sc    1900. 

This  plate  was   destroyed  by  fire,  and  reengraved  by  Mr. 
French ;  see  No.  280. 

160  Nathan  T.  Porter,  Jr.  « 1900 

E  D  French    1900 

Prints  show  retouching  of  figure. 

161  Silas  Wodell 1900 

E  D  French     1900 

162  RJS 1900 

EDF    1900 

163  New  York  I  Yacht  Club  I  Librar>' 1900 

Design  by  Walter  G.  Owens. 

a  Sails  all  white. 

b  With  shading  of  sails. 

c  Sails  lighter.    Ship's  stern  slightly  changed. 

E.D. French  Sc.    1900 

d  Presented  by — 

Proofs  exist  without  signature. 

The  original  design,  amended  by  Mr.  French,  passed  through 

three  trial  proofs  to  the  final  state,  as  shown  by  the  framed 

series  in  the  Club  Library. 
A  small  process  reproduction  is  used  in  small  books. 

56 


BOOK-PLATES 

164  Walter  B.  James,  M.D 1900 

ED  F    igoo 

a  Very  dark,  rays  from  sun  touch  mountain. 
b  Light,  rays  do  not  touch  mountain. 

165  Lucy  Maynard  Salmon.    MDCCCC 1900 

E  D  French    Sc 

166  John  H.  Buck 1900 

Design  by  Marian  Buck. 

a  Unsigned. 

b    Has  a  hawk  in  the  sky. 

EDFsc. 

167  Elisabeth  Chamberlain  1  The  Orchards 1900 

ED F    igoo. 

168  Margaret  H.  Foot 1900 

E  D  French    igoo 

169  John  W.  &  Lee  Partridge  |  Loveland 1900 

E  D  F  sc.    igoo 

Proofs  unsigned  and  undated. 

170  Amy  B.Alexander 1900 

ED F    igoo 

171  James  Wilson  Bullock    MDCCCC 1900 

E  D  French  Sc 

a  Minerva's  face  white,  space  under  oval  white.     No  date  in 

roman  figures. 
b  Face  engraved.     Date  and  study  from  Paul  Potter's  bull 

added. 
c  Portrait  of  Washington  substituted  for  bull. 

57 


EDWIN  DAVIS  FRENCH 

172  Arthur  West  Little 1900 

E  D  French  Sc.    Dec.  igoo. 

173  John  B.  Larner.  |  Washington,  D.  C 1900 

E  D  French  sc.    igoo 

174  Ruth  Adams 1900 

ED  F    igoo 

175  M.  C.  D.  Borden 1900 

A  replica  of  No.  71,  with  an  eagle  instead  of  the  crown,  and 
change  of  name. 

176  M.  C.  D.  Borden 1900 

Same  as  No.  175  but  smaller.    Height  i^  inches. 

177  S.  Walter  Woodward  |  Washington,  D.  C 1901 

ED F    igoi 

178  Sarah  Elizabeth  Whitin 1901 

ED  F    igoi 

179  William  Watts  Sherman 1901 

EDFSc.    igoi 

Design  by  B.  G.  Goodhue. 

180  John  Sanford  Barnes 1901 

ED F    igoi 

181  Bibliotheca  ]  Societatis  |  Signeti  |  in   Academia   Harvard- 

iana|  Ex  Bono  | 1901 

E  D  French  Sc    igoi 

Design  by  B.  G.  Goodhue. 
58 


BOOK-PLATES 

182  The  Worcester  I  Art  Museum.  I  The  Gift  of—    .     .     1901 

E  D  French  Sc.    igoi 

183  Hartshorne 1901 

ED F    igoi. 

a  Signed. 

h  Unsigned,  and  with  mantling  reduced. 

184  Harbor  Hill  |  1901 1901 

EDF 

185  Mabel  Carleton  Gage •    •    •     1901 

EDF  sc.    iQOi 

Design  by  owner. 

186  Library  |  of  the  |  Harvard  |  Union  |  The  Gift  of  |  James 

Hazen   Hyde  |  of  the  class  of   1898  |  in  memory  of  | 

Henry  Baldwin  Hyde  I  M  C  M 1901 

E.D.F.SC. 

Design  by  B.  G.  Goodhue. 

a  As  above. 

b  Date  altered  to  MDCCCC. 

E.D.F.  sc.    igoi 

c  The  Gift  of 

d  With    inscription   A    gift  |  in   Memory   of  \  Robert   Fields 
Simes  \A.  B.  1885.  LL.  B.  and  A.  M.  1888  \  1901 

Plates  a  and  b  printed  from  the  original  copper;  c  and  d 
from  electrotypes  retouched  with  graver  by  Mr.  French. 

187  Frances  Amelia  Adams 1901 

EDF    igoi 

Proofs  and  prints  show  a  slight  difference  in  the  miniature 
of  Emerson. 

59 


EDWIN  DAVIS  FRENCH 

188  Roger  Bigelow  Merriman 1901 

ED  F    1901 

a  Mountains  in  outline. 

b  Mountains  shaded.     Forequarters  of  lion  darkly  shaded. 

c  Lion  uniformly  shaded. 

d  Mountains  and  clouds  lighter. 

Plate  contains  view  of  Mt.  Washington  and  shields  of  Har- 
vard and  Balliol. 


189  William  Phillips 1901 

E  D  Fsc    1901 

Design  by  P.  deC.  la  Rose. 

a  Signature  on  a  single  line. 

b  Two  slits  on  sinister  side  of  helmet. 

c  Signature  and  date  E  D  F  \  sc  \  IQOI,  in  small  circle. 

190  Sarah  Rodman  Baldwin 1901 

Design  by  Addison  B.  Le  Boutillier. 

191  Walter  Davis  Richards     1825-1877 1901 

ED F    igoi 

192  Long  Island  |  Historical  Society  |  Storrs  Memorial  | 

Fund 1901 

a  As  above,  inscription  in  open-face  lettering  on  white  back- 
ground, book  in  lower  corner  blank. 

Two  trial  proofs  preceding  a,  are  preserved  by  the  Society. 

b  Lettering  and  panel  shaded,  book  decorated. 

E  D  French    igoi 

c  With  inscription :  Long  Island  Historical  Society  \  Bequest 
of  the  I  Rev.  Richard  Salter  Storrs,  D.  D.,  LL.  D.  \  for  the 
Enlargement  of  the  \  Department  of  Ecclesiastical  His- 
tory I  MDCCCC. 

60 


BOOK-PLATES 

193  Library  of  the  |  Society  of  Colonial  Wars  1  in  the  State  of 

Connecticut 1901 

Cypher    EDF    1901 
Proofs  in  two  states. 

194  Field   Memorial  ]  Library   Conway  |  Massachusetts  \  Built 

A.D.  MCMI  I  Class  ]  Book  No.  ]  Accession  No.   .     1901 

Originally  printed  in  type  at  the  Merrymount  Press  and  from 
this  engraved  by  Mr.  French. 

195  The  Adriance  Memorial  |  Library.  |  Poughkeepsie  .     1902 

Cypher    EDF    1902 

196  James  M.  Vamum 1902 

Cypher    EDF    1902 

197  James  B.  Dill.    MDCCCCII 1902 

Cypher    EDF 

a  As  above,  with  portrait,  slightly  turned  to  sinister  side,  en- 
graved by  S.  HoUyer. 

b  Has,  underneath,  the  words :  Vol.  No Shelf  No 

c  A  full  face  portrait,  by  J.  A.  J.  Wilcox,  substituted.    A  few 
impressions  with  scarf  light,  afterward  changed  to  dark. 

Working  proofs  show  plate  in  outline,  portrait  and  diamond 
figured  mat  engraved. 

198  Dorothy  Furman 1902 

Cypher    EDF    1902 

199  Edward  Dean  Adams. 1902 

Cyplter    EDF    1902 
Two  states  of  proofs  exist. 

200  Natala  Washburne  Bishop 1902 

E  D  French  fecit    1902 
Four  states  of  proofs  exist. 
61 


EDWIN  DAVIS  FRENCH 

201  Digamma  Library  7902  |  The  Gift  of 1902 

a  No  date  at  top.    Wolf  in  outline  on  white  shield. 
b  As  above. 

EDFsc. 


202  John  Chipman  Gray 1902 

a  One  book  on  rug  stands  on  its  fore  edge. 

b  This  book  replaced  by  two,  one  lying  on  the  other. 

Cypher    ED  F    1902 


203  Edward  Duff  Balken 1902 

ED  F  sc    igo2 

Design  by  George  Greene  amended  by  Mr.  French. 

o  Shelf  extends  beyond  window  line. 

h  Shelf  reduced,  books  under  window  darkened. 

204  R.  Stockton  Pyne 1902 

Cypher    ED F    igo2 

a  Ermine  charges  have  three  flourishes. 

b  The  conventional  three  dots  substituted  for  the  flourishes. 

205  William  Beverley  Rogers 1902 

a  Head  and  neck  of  crest  plain. 

b  Head  and  neck  of  crest  cross-hatched. 

Cypher    ED  F    igo2. 

206  The   Washington   County  |  Free   Library.    Hagerstown  | 

Maryland  I  MDCCCCI 1902 

Cypher    E  D  F    igo2 

a  Border  in  outline.     Portrait  unfinished,  background  shaded. 
b  Portrait  finished,  background  reshaded. 

Proofs  exist  in  several  states. 

62 


BOOK-PLATES 

207  Ernest  Kempton  Adams 1902 

Cypher    EDF    igo2 

a  Violin  lightly  shaded. 

b  Shading  heavier,  chin  rest  added. 

208  Walter  B.  Adams 1902 

Cypher    EDF    1902 

209  Nona  Newlin  Hooper 1902 

Cypher    EDF    1902 

210  John  Gerard  Heckscher ,1902 

Cypher    EDF    1902 

a  One  palm  tree. 

h  Two  palm  trees. 

c  Mouth  of  tarpon  closed. 

211  Charles  D.  Armstrong 1902 

Not  designed  by  Mr.  French. 

a  No  inscription  on  tablet. 
b  Inscription  added. 

212  Ira  Hutchinson  Brainerd 1902 

EDF    1902 

a  Outline  of  ledges  clearly  defined  by  white  lines. 
b  This   white  defining  line  graved   over,  mountains   shaded 
more  softly,  adding  distance. 


William  Henry  and 
2^3    ^Katharine  French      ^  Bumham 1902 

E  D  French    1902 


a  Chevron  argent, 
b  Chevron  or. 


63 


EDWIN  DAVIS  FRENCH 

214  Homer  Gage 1902 

Design  by  Mabel  Carleton  Gage. 
ED  F sc.    igo2 

215  Wynne  Winslow 1902 

Cypher    E  D  F    igo2 

216  From  the  Library  of  the  Very  |  Rev.  Eugene  Augustus 

Hoffman,  |  D.  D.,  LL.  D.,  D.  C.  L 1903 

Cypher    EDF    1903 

217  Wilhelmus  Mynderse 1903 

a  Without  signature  or  date. 
h  Signed  and  dated. 

E  D  F  sc.    1903 

218  LMP  (Lowell  Mason  Palmer.) 1903 

Cypher    EDF    1903 

The  palm  plate. 

219  LMP  (Lowell  Mason  Palmer.) 1903 

EDF    1903 

The  chrysanthemum  plate. 

220  Edward  Duff  Balken 1903 

Cypher    EDF    1903 

a  Upper  part  of  plate  nearly  filled  with  scrolls. 
h  Scroll   work  much   thinner   showing  cross-hatched   back- 
ground, e.g.,  lower  dexter  side  of  globe. 

221  Philip  Lippincott  Goodwin 1903 

Cypher    EDF    1903 

64 


'.       13.D.,LI.J>.,I>.C.I. 


BOOK-PLATES 

222  W  C  W  (W.  C.  Wood.) 1903 

Cypher    ED  F    1903 

a  Lower  end  of  C  turns  out. 
b  Lower  end  of  C  turns  in. 

223  De  la  Bibliotheque  |  du  |  Cercle  Frangais  ]  de  I'Universite 

Harvard 1903 

Cypher    ED  F    1903 

a  With  cypher  at  top,  made  of  letters  J  H  H. 

Of  this  there  were  forty  autograph  proofs  in  black,  ten  in  red 
and  five  in  blue. 

b  With  portrait  of  Moliere  at  top,  replacing  cypher. 

Of  this  there  were  twenty  autograph  proofs  in  black,  ten  in 
red  and  five  in  blue. 

224  Ruth  Lancaster  Hoe 1903 

Not  designed  by  Mr.  French. 

a  With  one  figure  in  canoe. 

b  Canoe  changed,  contains  a  dog  also. 

EDFSc 

225  Charles  WilHston  McAlpin 1903 

Cypher    EDF    1903 

226  Herman  Simon 1904 

Design  by  Thomas  Tryon. 
Proofs  in  two  states. 

227  The  Henry  A.  Rowland  |  Memorial  Library  .     .     .    1903 

Cypher    EDF    1903 

228  William  Augustus  Brewer 1903 

Cypher    EDF    1903 

a  Trunk  of  tree  by  gate  is  light  and  dark. 
b  Tree  entirely  dark,  plate  lighter. 

65 


EDWIN  DAVIS  FRENCH 

229  "Warner  Mifflin  and  Louise  Hartshorne  Leeds. 

MDCCCCI 1903 

E  D  French    1903. 

230  Annie  Lyman 1903 

Cypher    ED F    1903 

231  Caroline  Seagrave  Bliss 1903 

Cypher    E  D  F    1903 

232  Clark  University 1904 

Design  by  Mabel  Carleton  Gage. 

a  Frame  work  and  the  three  flowers  in  centre  unshaded,  no 

signature  or  date. 
b  Frame  work,  and  flowers  shaded,  but  unsigned. 
c  With  signature. 

E.D.F.  sc.    1904 

233  Elizabeth  Sage  Goodwin 1903 

Cypher    ED  F    1903 

234  Cincinnati  Law  Library  I  Rufus  King  Fund.  .     .     .     1903 

Cypher    ED  F    1903 

235  Lowell  Melvin  Palmer 1904 

E  D  French.    1904. 

a  Motto,  Ultra  aspicio. 
b  Motto,  Palma  virtuti. 

Some  proofs  have  no  motto. 

236  Herman  Simon 1904 

E.D.French  sc    1904 

Design  by  Thomas  Tryon.    Reduction  of  226. 
Frame  four  and  three-sixteenths  inches  high. 
Proofs  in  three  states. 

66 


BOOK-PLATES 

237  Mary  Barber  Robinson  |  Chester  Place      ....     1904 

Cypher    E  D  F    igo4 

a  Window  much  lighter  than  in  b  and  other  shading  is  in 

accord. 
b  Window  darkened.    Plate  reshaded. 

238  Katherine  Cecil  Sanford  Sheffield.     1904    .     .     .     1904 

Cypher    ED  F    IQ04 

239  Harvard   College   Library  |  Hohenzollern    Collection  |  In 

commemoration  of  the  visit  of  |  His  Royal  Highness  | 
Prince  Henry  of  Prussia  |  March  sixth,  1902  j  On  behalf 
of  His  Majesty  |  The  German  Emperor  |  Presented  by 
Archibald  Cary  Coolidge,  Ph.D.,  |  Assistant  Professor 

of  History 1904 

E  D  French  Sc.    igo4 

a  As  above. 

b  No  commas  in  next  to  last  line  and  no  period  after  History. 

Proof  impressions  with  remarque  (a  small  Roman  lamp) 
were  printed,  seventeen  copies  each  in  red  and  blue,  and 
twenty-nine  in  black,  all  on  Japan  vellum  with  the  excep- 
tion of  three  of  the  impressions  in  black,  which  were  on 
India  paper. 

A  panel  was  later  added  at  bottom  for  the  insertion  of  names 
of  donors  of  books. 

There  is  a  photo  electrotype  reduction,  about  four  inches  high. 

240  Library  of  the  |  American  Institute  |  of  |  Electrical  Engi- 

neers  1904 

E  D  French  fee.    1904. 

a  As  above. 

Electrotypes  are  as  follows : 

b  The  Gift  of  |  Edward  D.  Adams 

c  The  Gift  of  \  Schuyler  Skaats  Wheeler 

ccA.  zinc  reproduction  of  c  four  inches  high. 

d  The  Gift  of  \  The   Carnegie  Fund 

e  The  Gift  of 

67 


EDWIN  DAVIS  FRENCH 

Associated  with  e  dies  are  used  to  record  gifts  of : 

/  Thomas  A.  Edison. 
g  Bion  J.  Arnold. 
h  C.  O.  Mailloux. 
j  Charles  L.  Clarke, 
k  Cary  T.  Hutchinson. 
I  W.  D.  Weaver, 
m Nathaniel  S.  Keith, 
n  Joseph  Wetzler. 
0  W.  J.  Johnston, 
p  Edward  Caldwell 

Associated  with  a  similar  dies  are  used  for : 

q  The  Gift  of  the  New  York  \  Electrical  Society 

r  The  Gift  of  the  American  \  Bell  Telephone  Company 

s  The  Gift  of  the  \  McGraw  Publishing  Company 

Proofs  are  unsigned  and  have  word  Proof  in  panel. 

241  Mabel  Slade 1904 

ED F    igo4 

a  Large  tree  has  much  foliage,  clouds  quite  heavy. 
h  Foliage  on  large  tree  much  thinner,  clouds  lighter. 

242  Henry  C.  Bernheim 1904 

Cypher    E  D  F    1904 

243  Henry  Fairfield  Osborn 1904 

EDFSc    (Script  cypher.) 

Design  by  Edward  Hamilton  Bell. 

244  George  Edward  Dimock 1904 

Cypher    E  D  F    igo4 

245  Benjamin  Barnes  Lovett    MDCCCCIIII  ....     1904 

E  D  French  sc.     1904 

a  Has  no  date  in  plate. 

b  Date  in  plate  in  roman  numerals.     Some  proofs  have  re- 
marque:  an  open  book  on  a  branch. 

68 


BOOK-PLATES 

246  Winfred  Porter  Truesdell 1904 

Cypher    ED  F    1904 

a  Without  letters. 
b  As  above. 

Some  proofs  have  retnarque:  a  halberd. 

247  William  Bateman  Leeds 1904 

Cypher    ED  F    1904 

248  Samuel  Verplanck  Hoffman 1904 

Cypher    ED  F    1904 

A  few  proofs  have  the  crest  shaded  but  lightly. 

249  Henry  H.  Harper 1904 

Cypher    ED  F    1904 

Proofs  in  two  states. 

250  Mary  Bryant  Sprague 1904 

E.D.F.  sc.    1904 

Design  by  P.  de  C.  la  Rose. 
Some  proofs  are  unsigned. 

251  Mary  Bryant  Sprague 1904 

E.D.F.  sc.    1904 

Same  in  design  as  No.  250.  but  smaller— three  inches  high. 

252  Francis  Bunlcer  Greene 1904 

ED  F    1904 

a  As  above. 

b  With  words  Library  of. 

253  Georgia  Medora  Lee    MDCCCCIV 1904 

Cypher  ED  F 

Some  proofs  have  retnarque;  book  in  wreathed  spray. 
69 


EDWIN  DAVIS  FRENCH 

254  John  Notman 1904 

ED F    igo4. 

255  Lucy  Wharton  Drexel 1904 

Cypher    E  D  F    1904 

256  Gertrude  Clarkson  Welsh 1904 

Cypher    ED F    1904 

257  Katharine  Thomas  Gary 1905 

Cypher    ED  F    1905 

a  Trunk  without  shading. 
h  Trunk  shaded. 

Some  proofs  of  b  have  remarque;  view  of  Whiteface  in  the 
Adirondacks. 

(  Theodore  ) 

258  I  Eleanor     [  Taft 1905 

Design  by  C.  Grant  La  Farge. 

259  Harriette  M.  Stevens 1905 

Cypher    EDF    1905 

a  Hills  uniformly  shaded,  light.    Proofs  only. 
h  Hills  at  dexter  side  darker. 

260  Mary  Lois  Seagrave  Downes 1 905 

EDF    1905 

261  Ethel  Hartshorne  Wood 1905 

EDF.    1905 

a  Signed  in  circle. 

h  Signed  in  body  of  plate. 

262  Davis  Righter  Vail 1905 

Cypher    EDF    1905 

70 


BOOK-PLATES 

263  Queen's  University  |  Kingston  Canada 1905 

Cypher    EDF    1905 

264  George  Harvey 1^05 

Design  by  J.  Venier. 

a  Without  signature. 
b  Signed. 
EDFsc. 

265  Lucius  G  Fisher 1905 

E  D  French  fee    1905 

a  Dotted  line  from  dorsal  fin  to  tail. 

b  Fish  shaded  for  rotundity,  water  improved. 

266  Mary  Nixon  Smith 1905 

Cypher    EDF    1905 

a  Clover  blossom  at  top  dark. 

b  Clover  shaded  light  on  dexter  side. 

267  John  S.  Holbrook 1905 

Design  by  owner.    An  earlier  process  plate  exists. 

a  Prints  unsigned. 
b  Prints  signed. 
EDF.  sc.    1905 

Proofs  are  unsigned. 

268  Martha  A.  Symon 1905 

Cypher    EDF    1905 

269  George  J.  Gould.  1  Georgian  Court 1906 

270  Parke  E.  Simmons    . 1906 

Cypher    EDF    1906. 

71 


EDWIN  DAVIS  FRENCH 

271  Henry  Van  Deventer  Black 1906 

Design  by  the  owner. 

a  Sky  nearly  clear,  clouds  only  at  edge. 
b  Sky  overspread  with  clouds. 

272  Elizabeth  Jordan 1906 

E.D.F. 

Design  by  J.  Venier. 

273  The  Cosmos  Club 1906 

EDFsc 

Design  by  William  Fuller  Curtis. 

274  Emma  Stewart  Bixby 1906 

Cypher    EDF    igo6 

275  W  K  Bixby 1906 

Cypher    EDF    igo6 

a  Four  marks  on  body  of  octopus. 
h  Six  marks. 
c  Three  marks. 

The  three  states  show  marked  differences  in  shading  of  octo- 
pus, books  and  water;  careful  studies  of  a  difficult  and 
novel  subject. 

276  Julius  C.  and  Emily  S.  Bernheim 1906 

a  Sky  uniformly  shaded  and  rather  dark.    Star  very  distinct, 

distant  water  uniformly  shaded. 
h  Sky  lighter  near  star,  distant  water  shows  bars  of  light 

corresponding  to  outline  of  trees. 

Cypher    EDF    igo6 

277  John  R.  Sayler 1906 

Cypher    EDF    igo6 

72 


BOOK-PLATES 

(LHJ) 

278  )  s  E  J  (  (Jackman)     MDCCCCVI 

Cypher    EDF 

279  Cora  Paschall  Davis 1906 

Cypher    EDF    igo6 

a  Letter  A  in  the  name  has  curved  line  on  sinister  side,  re- 
sembling the  letter  R. 
b  The  letter  A  is  reversed,  curved  line  being  on  dexter  side. 

280  John  Walton  Livermore 1906 

E  D  French  Sc.    igoo-igo6 

a  A  few  proofs  were  taken  with  name  John  R.  Livermore. 
b  As  above. 

This  plate  is  nearly  a  replica  of  No.  159  though  the  detail  of 
engraving  differs  in  the  two  plates. 

281  Esther  Pierce  Metcalf 1906 

Cypher    EDF    igo6 

282  Utica   Public   Library.  |  From   the  |  John   E.   Brandegee 

Fund 1906 

E  D  French    igo6 

a  No  lettering  over  door.     Proofs  only. 

h  Name  of  Library  and  date  of  building  added.    Prints. 

283  The  Yale  Club  of  |  New  York  |  City 1906 

Design  by  Howard  Pyle. 
EDFSc.    igo5. 
Proofs  in  four  states. 

284  Henry  Clay  Frick 1906 

Cypher    EDF    igo6 

73 


EDWIN  DAVIS  FRENCH 

285  Beverly  Chew 1896 

A  small  oval  plate,  stamped  in  gold  upon  leather  of  different 
colors  from  a  die  designed  by  Mr.  French. 


286  Henry  A.  Smith 1898 

Engraved  by  J.  W.  Spenceley.    Design  by  Mr.  French. 

287  J.  Hood  Wright 1897 

Design  by  Mr.   French,  following  the  book-plate  of  Daniel 
Webster.     Engraver  unknown. 

288  Byrd 1899 

A  reengraving  of  the  Jacobean  book-plate  of  William  Byrd 
of  Westover  in  Virginia  Esqr. 

a  Before  all  letters.    A  few  proofs. 
h  George  H.  Byrd  of  New  York. 

.  Electrotypes  were  then  made  for  the  following: — 

c  Richard  Evelyn  Byrd  of  Wincliester  in  Virginia. 
d  William  Byrd  of  New  York. 
e  Francis  Otway  Byrd. 

289  William  and  Helen  Woodruff  Tatlock 1893 

a  Before  letters— a  few  proofs. 

b  With  Edwin  Davis  French  |  Saranac  Lake,  N.  Y.  printed  in 
red  from  a  letter-head  die.  In  this  form  50  copies  were 
printed,  a  few  of  them  by  printer's  error  with  the  frame 
reversed,  top  for  bottom. 

c  The  joint  plate,  as  above. 

d  An  electrotype  with  name;  William  Tatlock. 

290  For  the  Volapiik  Exhibit  at  |  the  Columbian  Exposition 

in  I  Chicago  MDCCCXCIII.    Loaned  |  by  E.  D.  French, 
217  West  I  Thirteenth  Street,  New  York. 

74 


BOOK-PLATES 

This  label  in  small  capitals  and  half  bordered  was  inserted  in 
the  Volapiik  books  loaned  by  Mr.  French  to  the  Chicago 
Exhibition  in  1893.  Though  printed,  it  is  included  here 
for  it  was  Mr.  French's  first  book-plate. 


291  W.  L.  Andrews. 

A  leather  label,  designed  by  Mr.  French. 
A  myrtle  wreath  inclosing  motto  and  name. 


292  Marshall  C.  Lefferts. 

A  leather  label,  designed  by  Mr.  French,  showing  masks  of 

comedy  and  tragedy,  and  fool's  bauble. 
Two  sizes :  one  inch  and  one  and  three  eighths  inches  high. 


293  Frederick  Judson  Holden  Sutton 1903 

Design  by  Mr.  French.    Engraved  by  F.  O.  Coombs. 

294  Martha  Elizabeth  Brainerd 1905 

Design  by  Mr.  French.    Engraved  by  F.  O.  Coombs. 

295  Gertrude  M.  Baillie 1906 

Design  by  Mr.  French.    Engraved  by  A.  N.  Macdonald. 

296  U-sepe-ars-so-ap 1893 

A  piece  of  burlesque  heraldry,  engraved  by  Mr.  French  in  the 
spirit  of  the  old  English  book-plate  engravers;  his  first 
known  copper  engraving. 

297  Timothy  Jones,  Esq"- 1893 

A  copy,  with  much  variation,  of  the  Samuel  Vaughan  Esqr 
plate,  engraved  as  a  study  of  the  Chippendale  style. 

a  As  above. 

b  Name  partly  erased,  still  traceable. 

c  Name  quite  obscured. 

75 


EDWIN  DAVIS  FRENCH 

298  de  Chaignon 1903 

A  reengraving  of  an  old  French  book-plate. 


299  Nihil  sine  labore,  |  Edwin  Davis  French  |  Designing  and  | 
copper  plate  engraving.  |  Specialty  of  Ex-libris.  |  204 
West  46th  St.  |  New  York 1896 

Though  not  a  book-plate,  this  announcement  of  Mr.  French's 
specialty  is  recorded  here  where  it  may  serve  as  a  link  be- 
tween the  two  lists  of  his  engravings. 


^ 


76 


MISCELLANEOUS  DESIGNS  AND 
ENGRAVINGS 


E.  D.French  I  217  West  13th  St.,  N.Y 1893 

Changed  in  1894  to: — 
E.  D.  French.  |  204  W.  46th  St.  I  New  York 
A  scroll-enclosed  "Chippendale"  design,  not  engraved,  used 
on  envelopes  and  letter  cards. 

A  stray  leaf  |  from  the  ]  correspondence  |  of  |  Washington 
Irving  I  and  [  Charles  |  Dickens  |  By  |  William  Loring 
Andrews  |  Printed  at  the  De  Vinne  Press  |  New  York, 
1894  I  and  embellished  |  with  engravings  |  on  copper 
and  zinc 1894 

Type  title.     The  illustrations  include  two  copper  engravings 
by  Mr.  French. 

I  Frontispiece:  The  Steamship  "Brittania." 
E.D. French  sc. 

Engraved  from  the  painting  by  Clarkson  Stanfield  R.  A. 
Copies  Nos.   1-15  of  the  edition  contain  proofs  of  the  first 
three  following  states : 

a  Unfinished  proof. 
b  Proof  before  letters. 
c  With  inscription  as  above. 

d  In  subsequent  copies  the  name  of  the  ship  is  changed  to 
Britannia. 

II  Imprimatur  of  W.  L.  Andrews. 

This  is  a  small  reproduction  of  Millet's  The  Sower,  also  used 
by  Mr.  Andrews  in  others  of  his  publications. 

77 


EDWIN  DAVIS  FRENCH 

a  Without  motto. 
EDFsc. 

Three  trial  proofs,  each  deeper  in  shading  than  the  one  be- 
fore it. 

b  With  motto. 

The  plate  appears  in  this  state  on  the  title-page  of  the  present 

book. 
Mr.  French  engraved,  without  signature,  a  slightly  smaller 

copy  of  The  Sower,  with  border  of  a  single  line. 

3  The  Trustees  |  of  the  |  Metropolitan  Museum  of  Art  |  re- 

quest the  I  honor  of  your  |  presence  at  the  |  inaugura- 
tion I  ceremonies  of  j  the  new  building,  |  on  |  Monday 
afternoon  |  November  fifth,  1894,  |  at  two  o'clock.  | 
Henry  G.  Marquand,  President.  |  L.  P.  Di  Cesnola, 
Secretary.  ]  To 1894 

a  Before  all  letters ;  much  of  decoration  in  outline. 

b  With  The  Trustees  of  the  and  To  .  .  .  engraved.  No 
other  letters. 

c  Seal  of  the  museum  still  wanting  in  centre  circle;  the  in- 
scription complete  excepting  the  date. 

d  As  described. 

E.D.French  inv.  et  so. 

4  The  President  and  Board  of  Trustees  |  of  Union  College 

request  the  honour  of  the  presence  of  | 

at  the  Centennial  Celebration  |  commemorative  of  the 
founding  of  |  the  College,  commencing  Sunday  June  the 
twenty-third,  and  ending  |  Thursday,  June  the  twenty- 
seventh,  I  eighteen  hundred  and  ninety-five,  at  |  Sche- 
nectady, New- York 1895 

E  D  French  fee. 

There  exists  an  impression  of  this  plate  with  the  centre 
obliterated,  and  the  dexter  portion,  containing  the  vignette 
of  the  "Blue  Gate,"  lamp  and  book,  elaborated  by  pencil  and 
pen  into  a  book-plate  for  the  Library  of  Union  College. 

78 


DESIGNS  AND    ENGRAVINGS 

5  The  Society  of  Iconophiles  of  the  City  of  New  York. 

1895-1897 

Publication. 

I    February.  1895.    St.  Paul's  Chapel.     1895. 
E.D.French  sc. 

II  April,  1895.     Interior  of  St.  Paul's  Chapel.  1  (View  of 

Chancel) 

E  D  French  sc. 

III  May,  1895.    Fraunces'  Tavern. 

E  D  French  sc.    iSgs 

IV  June,  1895.    The  Roger  Morris  House. 

E  D  French  sc. 

V    December,  1895.     Hamilton  Grange. 
E  D  French  sc     1895 

VI    February,  1896.    St.  Mark's  Church. 
E  D  French  sc    i8g6 

VII    May,  1896.     City  Hall. 

E  D  French  sc.    i8g6. 

VIII    September,  1896.    The  Halls  of  Justice.  |  ("The 
Tombs".) 
E  D  French  sc.    i8g6. 

IX    November,  1896.    National  Academy  of  Design. 
E  D  French  sc.     i8g6 

X    December,  1896.    St.  John's  Chapel,  Varick  Street. 

E  D  French  sc.     i8g6 

XI    January,  1897.    The  Murray  Hill  Distributing 
Reservoir. 

E  D  French  sc.    i8gy 
XII    March,  1897.    Bowling  Green. 
E  D  French  sc. 

Each  one  of  these  twelve  views  of  New  York  City  was  is- 
sued in  a  wrapper  giving  number,  date  and  title  of  the  pub- 
lication, and  this  statement :  "loi  impressions  of  this  engrav- 
ing have  been  taken  and  the  plate  destroyed.  All  impres- 
sions are  on  Japan  paper.  11  being  artist's  proofs  before  let- 
ters." 

Working  proofs  of  some  of  these  plates  exist;  6  and  7  in 
outline ;  5,  6,  and  10  partly  in  outline ;  S,  6,  8,  9  and  10  with- 
out the  seal  of  the  Society,  though  practically  finished. 

79 


EDWIN  DAVIS  FRENCH 

Universitas  et  civitas 1895 

E  D  French  del.  &  sc. 

Ornamental  border  with  small  view  of  Merton  College,  Ox- 
ford. 

a  With  large  panel  blank. 

b  Panel  contains  the  business  announcement  of  The  Baldwin 

and  Gleason  Company.     This  was  sketched  in  by  Mr. 

French,  and  engraved  by  another's  hand. 


7  The  Old  Booksell  |  ers  of  New  York  |  and  other  papers  j 
by  I  William  Loring  Andrews  |  New  York:  Anno  Domini 
one  thou  |  sand  eight  hundred  and  ninety-five    .     1895 

Type  title. 

Contains    the    following    designs    and    engravings    by    Mr. 
French : — 

I  Frontispiece.    An  E.  View  of  Trinity  Church  N.  York. 

Signature  reads : 

Engraved  on  Copper  \by  E  D  French,  from  the  Orig- 
inal in  the  New  York  Magazine  1790. 

II  Head-band  on  title-page,  with  miniature  of  Caxton. 

EDF 

III  Title-page  ornament;  roman  lamp  in  panel  with  scroll, 

not  signed. 

IV  Nassau  Street,  New- York. 

E  D  French  sc. 

Shows  the  signs  of  Sabin  and  Thomas  Bradburn. 

V    Head-band  Part  the  First. 
EDF 

VI    Initial  /  p.  3. 

VII     Initial  W  p.  29. 

VIII    Tail-piece  p.  50. 

IX    Government  House 

Signature  reads : 

Engraved  on  copper  by  E  D  French  from  the  Original 
in  the  New  York  Magazine  1795. 

80 


DESIGNS  AND    ENGRAVINGS 

X     Head-band  |  Part  the  Second. 

EDF 
XI     Initial  p.  53. 
XII     Tail-piece  p.  67. 

XIII  Head-band  Part  the  Third 

EDF 

XIV  Initial  T  p.  71. 

Numbers  I,  IV,  and  IX  are  copper  engravings,  the  others 
are  process  reproductions.  The  engravings  appear  in  two 
states,  one  unfinished  and  unsigned,  in  the  Imperial  Japanese 
Vellum  edition  of  the  book.  Experimental  prints  of  the  cop- 
pers were  taken  in  varied  colors. 

8  Young  Men's  Christian  Association  of  the  City  of  New 

York 1895 

To  the  seal  of  the  Association  Mr.  French  added  myrtle 
sprays. 

9  Beverly 1895 

The  seal  of  Beverly,  Mass.  It  shows  the  figure  of  an  armed 
Puritan,  with  motto,  and  the  inscription:  Founded  1626. 
Town  1668.     City  1894. 

10  Commemoration  |  of  the  |  Fiftieth  Anniversary  |  of  |  The 
First  Public  Demonstration  [  of  Surgical  Anaesthesia  | 
at  the  I  Massachusetts  General  Hospital  |  Boston  Oc- 
tober  16th    1846.  I  The  Honour  of  your  Company  is 

requested  |  October  16th  1896  at  ten  o'clock.  | 

for  the  trustees for  the  staff 1896 

E.D.F.  sc. 

Design  by  B.  G.  Goodhue.  Similar  in  motive  to  the  book- 
plate of  the  hospital. 

o  Thirteen  windows  in  basement  of  hospital. 
b  The  middle  basement  window  replaced  by  a  door.    Hospi- 
tal engraved  more  lightly. 

81 


EDWIN  DAVIS  FRENCH 

1 1  Admit  I I  to  the  |  Massachusetts  General  Hospi- 
tal I  October  16th  |  1896 1896 

Design  by  B.  G.  Goodhue.     Similar  to  the  book-plate  of  the 

hospital. 
In  first  proofs  the  letter  t  in  October  is  not  crossed. 


12  A  catalogue  of  books  pub  |  lished  by  Lamson  Wolffe  |  and 
Company  Boston  New  |  York  and  London  1896  .  1896 
E  D  French  sc. 

This  engraving,  signature  omitted,  was  enlarged  by  photo- 
gravure.   Sizes  5%  and  y'^A  inches  high. 

The  body  of  the  plate  is  the  same  as  that  of  book-plate 
No.  85. 


13  The  Metropolitan  Museum  of  Art.  |  Founded  1870.  |  This 
is  to  certify  that |  is  a  Fellow  in  Per- 
petuity of  the  Metropolitan  |  Museum  of  Art,  and  as 
such  is  entitled  to  the  |  privileges  which  now  are  or 
hereafter  may  be  |  connected  with  such  fellowship,  j 

President.  | Secretary.  | 

New  York, 19— 1896 

a  Scroll  work  in  outline.  No  lettering  except  word  Excel- 
sior. 

b  Scroll  work  shaded  and  seal  of  New  York  City  added. 

c-  Inscription  engraved  in  part ;  portion  from  is  a  fellow  to 
such  fellowship  not  yet  engraved. 

E.D.French  fecit,  1896 

d  Completed  plate. 

e  Same  plate,  with  for  Life  instead  of  in  Perpetuity. 

f  Same  plate,  with  words  an  Honorary  Fellow  instead  of 
a  Fellow  in  Perpetuity. 

g  Same  plate.    Fellowship  inscription  changed  to :  This  is  to 

certify  that |  is  a  Patron  of  the  Metropolitan 

Museum  of  \  Art,  and  as  such  is  entitled  to  the  privileges  \ 
which  now  are  or  hereafter  may  be  connected  \  with  such 
patronship. 

82 


DESIGNS  AND    ENGRAVINGS 

14  Dartmouth    College  |  The    Senior   Class   requests   the  j 

Honour  of  Your  Presence  |  at  their  |  Commencement 
Exercises  |  from  June  27th  to  June  30th  |  1897  |  June 
14th  1897 1897 

a  Word  its  instead  of  their;  no  border. 
b  As  described ;  with  border. 

15  The  Journey  of  |  the  Iconophiles  |  around  New  York  in 

search  of  |  the  historical  and  picturesque  |  (By  W.  L. 
Andrews.)  Printed  at  New  York  |  in  the  year  of  our 
Lord,  eighteen  |  hundred  and  ninety-seven.   .     .     1897 

Type  title. 

Frontispiece :  A  view  of  the  Battery  and  Harbour  of  New 
York,  and  the  Ambuscade  frigate,  1793.  Engraved  on  cop- 
per by  E  D  French,  from  the  Original  in  "Drayton's  North- 
ern and  Eastern  Tour." 

Six  copies  on  American  hand-made  paper  have  the  frontis- 
piece in  two  states,  before  letters  and  complete. 

This  book  contains  an  account  of  the  engravings  done  by 
Mr.  French  for  the  Society  of  Iconophiles. 

16  New  Amsterdam  |  New  Orange  |  New  York  |  A  chronolog- 

ically arranged  |  account  of  engraved  views  |  of  the 
city  from  the  first  |  picture  published  in  MDCLI  |  un- 
til the  year  MDCCC  |  By  j  William  Loring  Andrews  | 
Published  and  for  sale  by  j  Dodd,  Mead  and  Company, 
New  York  |  Anno  Domini  MDCCCXCVII  .     .     .     1897 

Type  title. 

The  illustrations  include  the  following  engravings  on  copper 
by  Mr.  French : 

I    Lines  to  the  Reader. 

ii-xiii     Head-bands  and  initial  letters,  pp.  XVH,  XXYH, 
3,  18;  Head-band  only,  pp.  31,  57,  75,  97. 

xiv-xx    Tail-pieces,  pp.  XXHL  XXXL  27,  54,  72,  93,  132. 

The  head-bands  include  small  early  views  of  New  York  City. 

83 


EDWIN  DAVIS  FRENCH 

Proofs  exist  of  the  initials  in  their  first  state,  on  a  single 

copper. 
The  Lines  to  the  Reader,  the  head-bands,  and  the  tail-piece 

on  p.  XXXI  are  signed  E  D  F;  the  other  engravings  are 

unsigned. 


17  A  trio  I  of  I  eighteenth  century  |  French  engravers  |  of  | 
portraits  |  in  miniature  |  Ficquet  ]  Savart  |  Grateloup  | 
William  Loring  Andrews  |  New  York  MDCCCXCVIIII 

1898 

Decorative  engraved  title  by  Mr.  French. 

a  Background  engraved,  decorated  frame  in  outline. 

h  Frame  complete,  save  for  lower  sinister  oval,  which  is  in 

outline ;  panels  blank. 
E  D  French  sc. 

c  As  described. 


18  A  bibliography  |  of  [  "The  Complete  Angler"  |  of  Izaak 
Walton  I  and  Charles  Cotton  |  being  a  chronologically  | 
arranged  list  of  the  several  |  editions  and  reprints, 
from  I  the  first  edition  MDCLIII  until  |  the  year  MCM.  | 
by  I  Arnold  Wood.  |  Illustrated  by  86  photographic  |  re- 
productions of  title  pages  |  New  York  |  Charles  Scrib- 

ner's  Sons  |  MCM 1900 

E  D  French  sc. 

Decorative  engraved  title  by  Mr.  French. 

a  Three-fourths  engraved,  from  dexter  to  sinister  side. 

h  The  date  in  Arabic  numerals,  igoo. 

c  Entirely    engraved    excepting    the    number    86.      Date    in 

Roman  numerals,  MCM. 
d  Number  86  inserted. 


19  The  Society  of  Iconophiles  of  the  |  City  of  New  York  | 
Founded    MDCCCXCIV.  |  Amsterdam     MDCLI.  [New 

84 


DESIGNS  AND    ENGRAVINGS 

York  MDCCCC  |  Pro  Urbis  Amore  |  This  is  to  certify 

that is  a  |  duly  elected  member  of  the 

Society  of  Iconophiles  |  of  the  City  of  New  York,  and 
as  such  is  entitled  to  the  ]  privileges  which  now  are  or 
hereafter  may  be  connected  |  with  such  membership  | 

President  | Secretary.  | 

New  York 19— 1900 

E  D  French  sc    igoo. 


20  Paul   Revere  |  and  his  |  Engraving  j  By  |  William   Loring 
Andrews  |  New  York  |  Charles  Scribner's  Sons  |  MCMI 

1901 

Decorative  title  '"'designed  and  engraved  on  copper  by  E. 
Davis  French  in  the  style  classed  by  book  plate  collectors 
as  Jacobean." 

a  Lettering  and  much  of  decoration  in  outline,  Old  South 

Church  finished. 
h  Plate  complete,  but  unsigned. 
c  Signed. 
E  D  French,  igoi 


21  New  York   Public  Library.     Astor,   Lenox  and  Tilden 
Foundations 1903 

From  the  seal  by  V.  D.  Brenner. 

This  plate  is  used  on  the  Library's  form  of  acknowledg- 
ment of  gifts.  An  electrotype  is  used  on  the  cover  of  the 
Library's  monthly  "Bulletin"  and  elsewhere. 


22  Andre's  Journal.  |  An  authentic  record  |  of  the  movements 
and  engagements  |  of  the  British  Army  in  America  j 
from  June  1777  to  November  1778  |  as  recorded  from 
day  to  day  by  [  Major  John  Andre  ]  Edited  by  Henry 

85 


EDWIN  DAVIS  FRENCH 

Cabot  Lodge  |  Issued  by  |  the  Bibliophile  Society  |  for 
members  only  |  Boston  ]  MDCCCCIII 1903 

E  D  French  fee. 

Description  by  Mr.  French  :  "The  design  of  this  title- 
page,  a  line  engraving  on  copper,  shows  the  portraits  of  Gen- 
eral Washington  and  of  Sir  Henry  Clinton,  respectively  com- 
manding the  American  and  English  forces  at  the  time 
this  Journal  was  written.  Beneath  depend  the  shields  with 
their  armorial  bearings.  More  nearly  in  the  centre  of  the 
plate  appears  a  representation  of  the  capture  of  Major  Andre, 
the  Hudson  and  the  Palisades  in  the  distance  at  the  right. 
At  the  left  are  grouped  the  newly  adopted  stars  and  stripes, 
the  thirteen  stars  arranged  in  a  circle,  as  they  were  displayed 
until  1795,  and  the  'Pine  Tree'  flag,  bearing  the  words 
'Liberty  Tree— An  Appeal  to  Heaven.'  Opposite  appears 
the  British  flag,  with  the  fimbriated  cross  of  Saint  George 
upon  a  white  saltire,— the  cross  of  Saint  Andrew ;  the  white 
cross  of  Saint  Patrick  of  the  modern  flag  being  a  later  addi- 
tion. Behind  it  is  partly  shown  the  royal  standard,  preten- 
tiously quartering  the  lilies  of  France  with  the  leopards  of 
England.  The  fleur-de-lis  above  the  representation  of  the 
capture  alludes  to  the  French  origin  of  Andre's  family,  and 
the  cross  of  Saint  George  in  the  oval  at  the  top  of  the  de- 
sign to  his  English  allegiance.  The  remarque  at  the  lower 
left-hand  corner  is  a  representation  of  Andre's  monument  in 
Westminster  Abbey." 

In  the  published  work  the  title-page  is  given  in  two  states, 
on  parchment,  with  the  remarque,  and  on  paper  without  it. 
A  few  impressions  exist  with  the  remarque  in  a  reddish- 
brown  ink. 

a  Without  names  under  portraits. 

Six  first  impressions  on  Japan  paper. 

h  With  names  under  portraits,  and  with  remarque. 
c  Without  remarque. 

23  The  New  York  Historical  Society  |  This  is  to  certify  that  | 

I  is  a  Patron  of  the  New  York  Historical 

Society  and  as  |  such  is  entitled  to  the  privileges  which 
now  are  or  |  hereafter  may  be  connected  with  such  pat- 

86 


DESIGNS  AND    ENGRAVINGS 

ronship.  | President.  | Re- 
cording Secretary.  |  New  York,  | 19 —    .     1904 

E  D  French  fecit    1904 

At  the  top,  on  a  flowing  ribbon,  is  the  name  of  the  society, 
and  under  it  are  the  symbols  of  nation,  state  and  city.  To 
the  left  of  these  is  "The  arrival  of  Henry  Hudson  on  the 
4th  September,  1609,"  a  copy  of  the  engraving  by  A.  B. 
Durand  on  the  old  certificate  of  the  Society;  to  the  right,  a 
view  of  the  Society's  new  building;  below,  a  copy  of  Block's 
view  of  "Novum  Amsterodamum,"  1650. 

a  Proof.  "Patron"  lightly  scratched  into  spaces  here  indi- 
cated :  is  a  of  the  and  connected  with  such 

ship. 

b  Same.     With  is  a  of  The,  the  t  in  the  being 

changed  to  a  capital. 

c  As  described. 

d  With  Fellow,  instead  of  Patron. 

e  With  the  following  change  in  the  lettering :  is  an  Honorary 
Member  of  The  New  York  Historical  Society  \  and  as 
such  is  entitled  to  the  privileges  which  now  are  or  |  here- 
after may  be  connected  with  such  membership. 

24  Views  |  of  |  early  New  York  |  with  illustrative  sketches 
Prepared  for  the  |  New  York  Chapter  of  the  |  Colonial 
Order  of  the  Acorn  |  New  York  |  Privately  printed  | 
MDMIV 1903,  1904 

Type   title.     Extract   from   introduction — "The   committee 
having  this  work  in  charge  was  fortunate  in  securing  the  ser- 
vices of  Mr.  Edwin  Davis  French,  who  has  faithfully  repro- 
duced on  copper  all  of  the  features  of  the  original  prints." 
The  plates  are  as  follows,  and,  save  the  last,  are  unsigned. 

I  Fort  Nieuw  Amsterdam  (New  York)   1651. 

II  New  York  in  1671. 

III  New  York  in  1673. 

IV  New  York  in  1733. 

V  City  of  New  York  before  the  Revolutionary  War. 

VI  New  York  in  1801. 
Cypher    EDF 

Trial  proofs  exist  of  the  1651,  1671,  1673  and  1801  views. 

87 


EDWIN  DAVIS  FRENCH 

25  American  Badminton  Series 1905 

Unfinished  engraved  title,  showing  decorative  border,  with 
nude  figures  of  men  and  boys,  representing  various  sports, 
and  without  the  title  itself. 

Design  by  F.  W.  Taylor. 

E  D  French  sc. 

26  The  letters  of  |  Charles  Lamb  |  in  which  many  mutilated 

words  I  and  passages  have  been  restored  ]  to  their  orig- 
inal form ;  with  |  letters  never  before  published  ]  and 
facsimiles  of  original  MS  |  letters  and  poems  |  With 
an  introduction  by  |  Henry  H.  Harper  |  Issued  by  | 
The   Bibliophile   Society  |  for   members   only  |  Boston 

MDCCCCV 1905 

E  D  French  fee. 

The  last  decorative  title  engraved  by  Mr.  French,  with  por- 
trait of  Lamb  centered  at  top. 

Remarque;  Roast  sucking  pig  on  platter. 

This  title  was  used  with  the  remarque  in  the  announcement 
of  the  book.    Some  proofs  have  no  remarque. 

27  Camp  Wild  Air  |  Upper  St.  Regis. 

Picturesque  vignette  with  pine  needle  decoration. 
Letter-head  designed  for  Mr.  Whitelaw  Reid. 
EDFsc 

28  Brook  Farm  Proctorsville  Vt.  |  189- 

A  letter-head  having  a  scroll-surrounded  engraving  of  the 
country  place  of  Mr.  James  Hale  Bates. 

29  Stationery  Department  |  Charles  Scribner's  Sons. 

An  engraved  heading  of  flowing  scrolls,  with  circular  panel 
containing  lamp  and  books. 

88 


DESIGNS  AND   ENGRAVINGS 

30  Carnegie  Institute  of  Washington  1902. 

A  seal,  lettered  in  circle  surrounding  portrait.  Engraved  by 
Mr.  French,  but  used  only  in  photo-electrotype. 

31  A  view  of  the  Harvard  Campus. 

Engraved  for  the  late  Edwin  B.  Holden,  but  never  published 
before  its  inclusion  in  the  present  volume.  Working  proofs 
exist  v^rith  trees  in  outline. 

Without  letters,  unsigned. 


89 


INDEX  OF  BOOK-PLATES 


Adams,  Edward  Dean,  ipg,  240 
Adams,  Ernest  Kempton,  207 
Adams,  Frances  Amelia,  187 
Adams,  Ruth,  174 
Adams,  Walter  B.,  208 
Adriance  Mem'l  Library,  195 
Alexander,  Amy  B.,  170 
Alexander,  Charles  B.,  44 
Allen,  Charles  Dexter,  141 
American  Institute  of  Electrical 

Engineers,  240 
Andrews,  Wm.  Loring,  11,  "j^i,  291 
Armour,  George  Allison,  11 1 
Armstrong,  Charles  D.,  211 
Arnold,  Bion  J.,  Gift  of,  240 
Authors  Club,  98 
Avery,  Ellen  Walters,  In  Memo- 

riam,  10 

Baillie,  Gertrude  M.,  295 
Baillie,  W.  E.,  17 
Bakewell,  Allan  C,  142 
Bakewell,  Alice  C,  43 
Baldwin,  Sarah  Rodman,  190 
Balken,  Edward  Duff,  203,  220 
Bar,  Ass'n  of  the,  67,  118,  119 
Barger,  Samuel  F.,  53 
Barnes,  John  Sanford,  180 
Bates,  James  Hale,  36 
Bell  Telephone  Co.,  Gift  of,  240 
Belknap,  Helen  Runyon,  96 
Bernheim,  A.  C,  42 
Bernheim,  Henry  C,  242 


Bernheim,  Julius  C.  and  Emily 

S.,  276 
Bierstadt,  Edward  Hale,  16 
Biltmoris,  60,  69 
Bishop,  Natala  Washburne,  200 
Bixby,  Emma  Stewart,  274 
Bixby,  W.  K.,  275 
Black,  Henry  V.  D.,  271 
Blackwell,  Henry,  20,  147,  150 
Bliss,  Caroline  Seagrave,  231 
Bliss,  Catherine  A.,  87 
Boas,  Emil  Leopold,  139 
Borden,  M.  C.  D.,  175,  176 
Borland,  Harriet  Blair,  80 
Bradshaw,  Sidney  Ernest,  133 
Brainerd,  Eveline  Warner,  96 
Brainerd,  Helen  Elvira,  I,  4 
Brainerd,  Ira  H.,  212 
Brainerd,  Martha  Elizabeth,  294 
Brandegee,  John  E.,  Fund,  282 
Brewer,  William  Augustus,  228 
Brown,  Georgette,  124 
Buck,  John  H.,  166 
Bull,  William  Lanman,  65 
Bullock,  James  Wilson,  171 
Burke,  Edward  F.,  104 
Burnham,    William    Henry    and 

Katharine  French,  213 
Burrill.  John  E.,  Fund,  118 
Byrd,  Francis  Otway,  288 
Byrd,  George  H.,  288 
Byrd,  Richard  Evelyn,  288 
Byrd,  William,  288 


91 


EDWIN  DAVIS  FRENCH 


Caldwell,  Edward,  Gift  of,  240 

Candidati,  96 

Carnegie,  Lucy  Coleman,  91 

Carnegie  Fund,  240 

Carter,  James  C,  Gift  of,  119 

Cary,  Katharine  T.,  257 

Cercle  Franqais,  223 

de  Chaignon,  298 

Chamberlain,  Elisabeth,  151,  167 

Champaign  Public  Library,  59 

Cheney,  Alice  S.,  156 

Chew,  Beverly,  7,  47,  285 

Child  Memorial  Library,  100 

Church,  E.  D.,  41 

Cincinnati   Law   Library,   Rufus 

King  Fund,  234 
Clark,  Charles  E.,  8,  9 
Clark  University,  232 
Clarke,  Charles  L..  Gift  of,  240 
Clough,  Micajah  P.,  51,  66 
Colonial  Dames  of  America,  18 
Connecticut  Society  of  Colonial 

Wars,  193 
Connell,  William,  97 
Cosmos  Club,  273 
Coutant,  Richard  B.,  28 
Cox,  Jennings  Stockton,  125 
Crerar,  John,  Library,  83 
Gushing    (Armorial),    145 
Gushing,  Ex  Libris  Medicis,  115 

Daly,  Helen  Hunt,  96 

Dana,  Charles  L.,  131 

Davis.  Cora  Paschall,  279 

Day,  Elsie  Lewis,  96 

Deats,  Hiram  Edmund,  22 

Denver  Club,  84 

De  Vinne,  Theo.  L.,  56 

Digamma,  201 

Dill,  James  B.,  197 

Dimock,  George  Edward,  244 

Downes,  Mary  L.  S.,  260 

Dows,  Tracy,  70 

Drexel,  Lucy  Wharton,  255 


Duryee,    George    Van   Wagenen 
and  Margaret  Van  Nest,  143 

Edison,  Thomas  A.,  Gift  of,  240 
Ellsworth,  James  William,  46 
Emmet,  Thos.  Addis,  Collection 
of,  88 

Field  Memorial  Library,  194 
Fisher,  Lucius  G.,  265 
Foot,  Margaret  H.,  168 
Foote,  Charles  B.,  19 
French,  Edwin  Davis,  3,  5,  289, 

290,  299 
French,  Mary  Brainerd,  2 
Frick,  Henry  Clay,  284 
Furman,  Dorothy,  198 

Gage,  Homer,  214 
Gage,  Mabel  Carleton,  185 
Gale,  Edward  Courtland,  136 
Giles,  Ellen  Rose,  96 
Godfrey,  Jonathan,  32 
Goldsmith,  Abraham,  no 
Goldsmith,  James  A.,  121 
Goodrich,  J.  King,  64 
Goodwin,  Elizabeth  Sage,  233 
Goodwin,  Francis,  30 
Goodwin,  James  J.,  29,  45 
Goodwin,  Philip  L.,  221 
Gould,  George  J..  269 
Gray,  Adelle  Webber,  89 
Gray,  John  Chipman,  202 
Greene,  Francis  Bunker,  252 
Grolier  Club,  21 

Haber,  Louis  L,  38 
Hagerstown,  206 
Harbor  Hill,  184 
Harper,  Henry  H.,  249 
Hartshorne  (Armorial),  183 
Hartshorne,  Mary  Minturn,  106 
Harvard  University 
Cercle  Franqais,  223 


92 


INDEX  OF  BOOK-PLATES 


Child  Memorial,  lOO 

Digamma,  201 

Harvard  Union,  186 

Hohenzollern  Collection,  239 

Societatis  Signeti,  181 
Harvey,  George,  264 
Havemeyer,   Wm.   Frederick,  55 
Heckscher,  John  Gerard,  210 
Herter,  Christian  A.,  T2 
Hoe,  Ruth  Lancaster,  224 
Hofifman,  Eugene  Augustus,  216 
Hoffman,  Samuel  Verplanck,  248 
Hohenzollern  Collection,  239 
Holbrook,  John  S.,  267 
Holden,  Alice  C,  25 
Holden,  Edith,  61 
Holden,  Edwin  B.,  23,  24 
Holden,  Edwin  R.,  26 
Hooper,  Nona  Newlin,  209 
Hopkins,  Robert  Emmet,  155 
Horsford,  Cornelia,  149 
Hutchinson,    Cary    T.,    Gift    of, 

240 
Hyde,  James  Hazen,  Gift  of,  186 

James,  Walter  B.,  164 
Jackman,  S.  E.  and  L.  H.,  278 
Johns  Hopkins  University,  Row- 
land Memorial,  227 
Johnston,  W.  J.,  Gift  of,  240 
Jones,  Timothy,  297 
Jordan,  Elizabeth,  272 

Kahn,  O.  A.,  90 
Kalbfleisch,  Charles  C,  33 
Keith,  Nath'l  S.,  Gift  of,  240 
Keyes,  Helen,  96 
King,  Georgiana  Goddard,  96 
King,  Rufus,  Fund,  234 
Kingsbury,  Edith  Davies,  94 

Lambert,  Samuel  W.,  113 
Lamson,  Edwin  Ruthven,  85 


Larner,  John  B.,  173 
Lawrence,  Emily  Hoe,  35 
Lee,  Georgia  Medora,  253 
Leeds,  Louise  Hartshorne,  140 
Leeds,  Warner  Mifflin,  229 
Leeds,  William  Bateman,  247 
Lefferts,  Marshall  C,  15,  292 
Lefferts,  Mollie  Cozine,  105 
Leggett,  Cora  Artemesia,  6 
Lemperly,  Paul,  102,  153 
Little,  Arthur  West,  172 
Livermore,  John  R.,  159,  280 
Livermore,  John  Walton,  280 
Long  Island  Historical  Society, 

Storrs  Memorial,  192 
Loveland,  John  W.  and  Lee  Part- 
ridge, 169 
Lovett,  Benjamin  Barnes,  245 
Lowenstein,  L.  B.,  39 
Lyman,  Annie,  230 

Mackay,  Katharine,  148,  184 
Macy,  Valentine  Everit,  68 
McAlpin,  Charles  W.,  225 
McCarter,  Robert  H.,  92 
McGraw    Publishing    Co.,     Gift 

of,  240 
McKee,  Thomas  Jefferson,  49 
McLaughlin,  Edward  Tompkins, 

Memorial,  T2 
Mailloux,   C.   O.,  Gift  of,  240 
Mansergh,  R.  S.,  yj 
Marshall,  Frank  Evans,  58 
Marshall,  Julian,  95 
M edicts,  Ex  Libris,  115 
Merriman,  Roger  Bigelow,  188 
Messenger,  Maria  Gerard,  54,  86, 

151 
Metcalf,  Esther  Pierce,  281 
Metropolitan  Museum,  40 
Moore,  Louise  Taylor  Harts- 
horne, 140 
Morgan,  A.  J.,  74 
Mynderse,  Wilhelmus,  217 


93 


EDWIN  DAVIS  FRENCH 


N.    Y.    Electrical    Society,    Gift 

of,  240 
N.    Y.    Public    Library,    Emmet 

Collection,  88 
N.  Y.  Yacht  Club,  163 
Nimick,  Florence  Coleman,  128 
Notman,  John,  254 

Odd  Volumes,  Club  of,  62 
Orchards,  The,  151,  167 
Osborn,  Henry  Fairfield,  243 
Osborne,  Thomas  Mott  and 

Agnes  Devens,  57 
Oxford  Club,  12 

Palmer,  Lowell  Mason,  218,  219 
Palmer,  Lowell  Melvin,  235 
Phillips,  William,  189 
Players,  The,  13 
Plummer,  Mary  Emma,  81 
Porter,  Jr.,  Nathan  T.,  160 
Prescott,  Eva  Snow  Smith,  132 
Princeton  University,  108 
Pyne,  M.  Taylor,  50,  107 
Pyne,  Percy  Rivington,  63,  107 
Pyne,  R.  Stockton,  204 

Queen's  University,  263 

R  J  S,  162 

Ranney,  Henry  Clay  and  Helen 

Burgess,  103 
Reid,  Whitelaw,  14 
Richards,  Walter  Davis,  191 
Robinson,  C.  L.  F.,  158 
Robinson,  Mary  Barber,  237 
Rogers,  William  Beverley,  205 
Rowe,  Henry  Sherburne,  34 
Rowland,  Henry  A.,  Mem'l,  227 

Sabin,  Ruth  Mary,  99 
Salmon,  Lucy  Maynard,  165 
Sampson,  Florence  de  W.,  109 
Sayler,  John  R.,  277 
Scripps,  James  Edmund,  129 


Sedgwick,  Henry  Renwick,  138 
Sedgwick,  Robert,  ']^ 
Sheffield,  K.  C.  S.,  127,  238 
Sherman,  William  Watts,  179 
Sherwin,  Henry  A.,  52,  82 
Sherwood,  Samuel  Smith,  117 
Simmons,  Parke  E.,  270 
Simon,  Herman,  226,  236 
Skinner,  Mark,  Library,  loi 
Slade,  Mabel,  241 
Smith,  Henry  A.,  286 
Smith,  Mary  Nixon,  266 
Societatis  Signeti,  181 
Sovereign,  71,  79 
Sprague,  Mary  Bryant,  250,  251 
Stearns,  John  Lloyd,  93 
Stevens,  Harriette  M.,  259 
Stickney,  Edward  Swan,  134 
Stratton,  A.  Dwight,  112 
Sutton,  Frederick  J.  H.,  293 
Sweetser,  Kate  Dickinson,  96 
Symon,  Martha  A.,  268 

Taft,  Theo.  and  Eleanor,  258 
Talmage,  John  F.,  135 
Tatlock,  William  and  Helen 

Woodruff,  289 
Taylor,  Chas.  H.,  Jr.,  78 
Thorne,  K.  C.  S.,  127 
Treadwell  Library,  152 
Truesdell,  Winfred  P.,  246 
Twentieth  Century  Club,  122 

U-scpe-ars-so-ap,  296 
Union  League  Club,  157 
University  Club,  154 
Utica  Public  Library,  282 

Vail,  Davis  Righter,  262 

Vail,  Henry  H.,  48 

Van  Wagenen,  Fred.  W.,  123 

Varnum,  James  M.,  196 

Vassar  Alumnag  Hist.  Assn.,  116 

Volapiik,  3,  290 


94 


INDEX  OF  BOOK-PLATES 


Ward,  Mary  Minturn,  io6 
Warner,  Beverley,  31 
Washington  County,  206 
Weaver,  W.  D.,  Gift  of,  240 
Welsh,  Gertrude  Clarkson,  256 
Wendell,  Barrett,  114 
Wetzler,  Joseph,  Gift  of,  240 
Wheeler,  S.  S.,  Gift  of,  240 
Whitin,  Sarah  Elizabeth,  178 
Wilcox,  Louise  Collier,  96 
Wiley,  Sara  King,  96 
Willets,  Howard,  75 
Williams,  E.  P.,  126 
Williams,  John  Skelton,  146 
Wilson,  Margaret  Chase,  96 


Winslow,  Wynne,  215 
Winthrop,  Henry  Rogers,  120 
Wodell,  Silas,  161 
Wood,  Arnold,  130,  144 
Wood,  Ethel  Hartshorne,  137, 261 
Wood,  W.  C,  222 
Woodbury,    Charles   H.,   67 
Woodbury,  John  P.,  27 
Woodward,  S.  Walter,  177 
Worcester  Art  Museum,  182 
Wright,  J.  Hood,  287 

Yale  Club,  283 

Yale  University,  McLaughlin 
Memorial,  72 


INDEX  OF  MISCELLANEOUS  DESIGNS 
AND  ENGRAVINGS 


Acorn,  Colonial  Order  of  the,  24 
American  Badminton  Series,  25 
Andre's  Journal,  22 
Andrews,   William   Loring,   En- 
gravings for,  2,  7,  16,  17,  20 

Bates,  James  Hale,  28 

Beverly,  Seal  of,  9 

Bibliophile    Society,  The,   Titles 

executed  for,  22,  26 
Britannia,  The,  2 

Carnegie  Institute,  30 
Complete  Angler,  The,  18 

French,  E.  D.,  i 
French  Engravers,  17 

Harvard  Campus,  31 

Iconophiles,  Society  of,  5,  15,  19 

Lamb,  Charles,  Letters  of,  26 


Lamson  Wolfife  and  Co.,  12 

Mass.  General  Hospital,  10,  11 
Metropolitan  Museum,  3,  13 

New  York  City  Views,  5,  7,  15, 

16,  19,  24 
N.  Y.  Historical  Society,  23 
N.  Y.  Public  Library,  21 

Reid,  Whitelaw,  27 
Revere,  Paul,  20 

Scribner's,  Charles,  Sons,  29 
Sower,  The,  2 

Union  College  Centennial,  4 
Universitas  et  civitas,  6 

Wood,  Arnold,  Title  executed 
for,  18 

Young  Men's  Christian  Ass'n ,  8 


95 


ivi2a'?G13 


THE  UNIVERSITY  OF  CAUFORNIA  UBRARY 


uc 


B^^m) 


'"''se^i'il,' 


f                   U  DAY  USE             ^ 

RETURN  TO  DESK  FROM  WHICH  BORROWED  1 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

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IDES  1  a  1SB4 

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OCT  1  4: 1966 

APR  19  1975 

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,                (E45o5sl0)4<6                                         Berkeley 

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